" Something you cannot have. 2010"

On DRAWING

ts simplicity lies the potential for infinite variation, each line a unique expression of spatial, temporal, and conceptual relationships.

At its core, the line is a temporal phenomenon. Each mark carries the evidence of its creation: a record of motion over time. It is inseparable from the process of its making. A straight line reflects precision and consistency, while a fluctuating line reveals interruption or redirection. Thus, every line is not merely a static entity but a sequence—a progression that extends through time and space.

The line is also a tool for abstraction. It reduces the complexity of the observed or imagined world into discrete segments and edges. A line does not replicate reality but suggests it. It serves as an intermediary between perception and representation, distilling multidimensional forms into a two-dimensional medium. Through this reduction, the line enables comprehension and articulation, offering a framework within which meaning can be constructed.

In the context of a drawing, the line is relational. It defines not only itself but the elements it interacts with—surfaces, shapes, and negative spaces. Its role is contingent on its context: a single line may act as a contour, a boundary, or an axis of symmetry. As lines accumulate, they form systems—grids, patterns, and compositions—that generate complex visual and conceptual structures.

The representational capacity of the line lies in its ambiguity. It operates as both a signifier and an abstract entity. A curved line might suggest the contour of a body, while its actual form remains independent of the object it evokes. This duality allows the line to function within both concrete and conceptual frameworks, serving as a bridge between the tangible and the imagined.

Drawing is thus a process of negotiation between the properties of the line and the intent of the artist. Each line represents a decision—its placement, length, and orientation determined by the requirements of the composition. These decisions accumulate, generating an image that reflects the interaction of structure, time, and thought.

The line, in its most elemental sense, is an artifact of agency. It is the result of an intentional act, whether mechanical or intuitive. As such, it reveals the parameters of its creation: the materials, the tools, and the constraints of the medium. This objectivity does not preclude interpretation but situates the line within a framework of observable and measurable phenomena.

By understanding the line as both a structural and temporal entity, we can approach drawing not as a reproduction of the world but as an exploration of its conditions. Every line embodies a question of how space and form can be articulated, how complexity can be organized, and how representation itself operates.

Waluigi killing Bowser, December, 2024, digital drawing

Submission Total Eclipse, 2024, Collage in oak frame

Dream Scenario I, 2024, Rohrschach Ink in Book

Spring I + Spring II, 2024, Arcyl on Paper, 84,1 x 118,9 cm

Aetna, 2022, painting on canvas, 100 x 80 cm

nael(drawing), 2022, graphic on paper

Several Drawings in Sicily, 2021, watercolor on paper