BERLIN.- It was my first time in the studio/home (or home/studio) of Jonas Lipps. I was certain of entering a living condition in which the artist proceeds in total harmony with the work. I imagined as much not only because Jonas Lipps lives in the spaces where he produces his works, but also because it could not be otherwise, given the psychological component that goes into his operation, along with the element of time, his time, as the condition in which sketches, projects, images and definitive works take form. The factors with which to organize an interpretation of Lipps’s work are found at multiple starting points. Certainly the process of recognition of the final moment proceeds through a long, precise effort of accumulation of material, which is the intermediate space between the various phases of growth of the idea. Dozens and dozens of elements move in this space, different forms make up the material on which Lipps acts, through drawing or other methods. The waterc