Measuring 180 by 140 centimeters, it is a striking example of the contemporary abstract tradition, rooted in lyrical abstraction and influenced by both action painting and the philosophy of emptiness. It invites viewers into a visual terrain where the void is not absence, but potential, where the tension between silence and movement becomes a meditative force.

The canvas is dominated by negative space—a pale, almost white field that serves as a contemplative ground for a constellation of color gestures. These gestures, primarily composed of splashes, stains, smudges, and drips, are distributed asymmetrically across the surface. The most immediate feature is a vibrant, diffuse red mark in the upper-left quadrant. This amorphous bloom of color appears both spontaneous and intentional, as if caught mid-expansion. Around it, dark threads and ink-like filaments suggest underlying energies or tensions, anchoring the red to a narrative of emergence or combustion.

To the upper right, a darker blue-and-black bloom hovers like a shadow or a wound. It seems more condensed, less radiant than the red, implying a kind of weight or inward collapse. Around it, specks of orange and violet diffuse outward, suggesting motion or the fading echoes of an impact. These markings recall cosmic phenomena—nebulae, collisions, or even distant galaxies—imbuing the composition with a feeling of vast scale despite its minimal detail.

Between these two primary zones of activity, the center of the canvas remains relatively open, sparsely punctuated by faint marks—barely-there brushwork, delicate scratches, and near-invisible stains. The lower central region reveals a muted smudge of greenish-gray and a small burst of crimson, grounding the painting and breaking the vertical void without overwhelming it. These minor elements feel like echoes of the larger forms, as though the color had drifted or whispered downward.

What is compelling about this piece is its delicate balance between control and chance. Casati appears to embrace the unpredictability of his medium, allowing pigment to bleed, pool, and evaporate in organic ways, while also making conscious decisions about placement and composition. The result is a work that hovers between accident and design, between fragility and presence. The viewer may sense both the immediacy of the artist’s gestures and the temporal depth that results from their restraint.

The sparse distribution of marks and the dominance of the off-white background create a strong sense of stillness, similar to the sensation of listening for something just beyond the edge of hearing. This aligns with a broader philosophy often found in minimal or Zen-influenced aesthetics: the idea that what is not shown is just as important as what is revealed. Casati’s canvas becomes a site of contemplation, where the few marks he does make resonate more deeply precisely because of the surrounding quiet.

In essence, Numero 28 is not a painting that declares—it whispers. It is an exploration of presence through absence, of gesture through void, and color as a vessel for emotion rather than depiction. It asks the viewer not to look for a story or an image, but to dwell in the spaces between forms, in the silence between marks, and to consider the infinite within the minimal.