Some artists create drawings whose strokes, such as a certain look, word or work, suggest an open cartography of resonance and transfers.
In his aesthetic breviary, Benedetto Croce explains that each artistic representation embodies the universe: Every accent, every creation from the imagination of a poet evokes the totality of human destiny, hopes, aspirations, sorrows, joys, greatness and miseries. A verse written by Wallace Stevens proclaims that the soul is composed of the outside world. Kafka, in regards to the construction of one of his stories, confessed that only in this way, with this continuity, with a complete opening of the soul and body could he write. In an enigmatic note in one of his diaries, he indicates that a sensitive point exists from which the infinite irradiations of the spirit flow. He was aware of its existence and allowed it to move, drawing a circle around the point. When it moved, he moved the circle to prevent them from touching. Exhausted after having written the ride on horseback between Emma Bovary and her lover, Flaubert wrote in one of his letters to Louise Colet that that day the horses, the leaves, the wind, the words they exchanged and the sun radiating down on them became man and woman. In one of his convalescent testimonies, Jean Cocteau discovers that writing is the same as drawing, tying lines to certain odds so they become writing, or untying them in such a way whereas writing becomes drawing. The scores by John Cage, the paintings by Giorgio Morandi, the drawings by Sol Lewitt, the buried lines of Piero Manzoni, the research of Smithson, Morris, Oppenheim and Dibbets, the liberalisation of Duchamp and the glasses of Le Corbusier, as well as fumbling notes in the dark, certain previous versions of posterior work, the notebooks of certain architects or even cave paintings reverberate in harmony with these ideas, drawing in time a score of boundless continuous lines. | © Ángel Martínez García-Posada CC-BY-NC-ND 3.0