Pierre Schwerzmann is a Swiss painter based in Nyon. Alongside his career as a teacher, he has continually reflected on

modes of expression and their underlying choices, often extending this inquiry into collaborative projects.

His book Trente Vingt-quatre exemplifies this approach. Within its pages, large squares are drawn inside smaller ones: lines, curves, diamonds, flat rectangles, dots aligned in sequence, angles, grids. Through repetition—on the page and in space—new patterns emerge, rendered in grey pencil or colour. A chessboard of grey and white appears, where form follows the rhythm of the page as much as the artist’s thought process.

This corpus represents the first stage of a larger research project. The sketches, while serving as preparatory studies for large-scale works, constitute an autonomous body of work in their own right. They are presented without mediation: alignments of forms, transcribed directly from the process of research. To further accentuate this gesture, the artist produced some thirty unique hand-made covers. The sequence of the book follows the chronology of the drawings, structured according to a protocol derived from the reproduction of twelve A4 sheets taken directly from his working binder.

Form generates space; line hollows out the paper’s surface. Enlargements of the sketches, printed on fine paper, reinforce the presence of the graph-paper squares and illustrate the ritualisation of research at the core of Schwerzmann’s pictorial practice. This first series of pages leads naturally into the second part of the book, where assemblages of 30 × 24 cm paintings are presented—works that transpose the initial dimensions of the reproduced sketches into the register of painting.

Trente Vingt-quatre thus unfolds as a book that documents both rhythm and chronology: a material trace of the artist’s evolving thought and the fundamental systems that sustain it.