Two lines,  two surfaces.

Five lines, four surfaces.

They are spaces for delighting on our own emotions.

Lines as Interstices,

a non-space.

​

​

​

They emerge from a point

and slowly start becoming a passage

for dwelling,

for being.

 

​

​

They are impermanence at its purest.

They are writing,

they are thought,

they are laws

and they are drawings. Appearing and disappearing through seemingly geographical territories,

dividing and connecting spaces to no-spaces.

It is about observing, there is no objectivity, only appropriation.

​

 

​

​

This is not about the delight on the idea of the art work,

but on our emotions,

the screen as a space of emerging feeling only through the personal rhythm of an eye traversing the surface.

The exterior and the void

becomes thresholds of sentimental participation.

Through their absence and presence,

the eye becomes a voyager,

a traverser

of a moving territory.

 

 

​

The no- space of the screen,

on top of a screen,

and a line that moves above,

and below,

they are and become because of the tension between the facts and non-facts of each path.

They are both a void for inhabitation, and a space for imagination.

It is a porous boundary that simultaneously connects and separates being inside from outside,

public and private,

transparent from opaque.

 

 

 

As thresholds of rivers,

doors,

frames,

membranes,

all similes of our bodies,

voids that are both intimate and mundane,

present and absent.

 

​

​

 

Lines and surface are both space and time,

they are inexistent and eternal.

​

​

​

The traversing of the subjective eye across a confined mirror

made to contemplate,

to travel.

Spaces and no-spaces of paradox,

memory,

and invention.

​