Introduction: The Significance of the Line ...of My Line

In art, the line is often seen as a fundamental element, the foundation of form and structure. Yet, a line can also transcend representation, becoming a dynamic force that bridges thought, sensation, and the surrounding world. Understanding what lies behind a line—its origins, its purpose, and its interaction with the artist’s mind and environment—offers insight into the deeper layers of artistic creation.

In my work, the line is not merely a gesture; it is an interaction with a complex and ever-changing reality. Exploring this idea reveals not only the foundations of my process but also the broader relationship between art, perception, and the forces that shape our experience.

---

The Situated Line: Between Surrealism and Deleuze

My artistic line emerges as an autonomous gesture, guided not by the eye but by sensations and mental perceptions. It is a response to the complex, dynamic reality in which we are immersed daily, often interacting with it unconsciously. While this approach connects my work to surrealist automatism, it also extends beyond it: the line I draw is not purely an expression of the unconscious but a situated element, shaped by the influences I mentally absorb from my surroundings.

A Dialogue with Surrealism

Surrealist automatism sought to free the creative gesture from rational control, allowing the unconscious to emerge. In my work, however, the line transcends this approach. It does not solely emerge from a Freudian unconscious but from an interaction between the artist and the world—a dialogue with the complexity of external forces. My fluid lines embody the freedom of automatism but coexist with broken, precise lines that bring a meditative sense of order, akin to a Zen-like precision. This duality reflects the interplay between chaos and structure, intuition and awareness.

The Line as Pli and Diagramme

Deleuze’s concept of the pli (fold) is central to understanding my approach. Each line represents a folding of forces, a continuous movement that does not simply define a form but creates a layered visual and conceptual experience. The fluid line folds upon itself, forming dynamic relationships that reflect the constant interaction between interiority and the external world.

Additionally, my artistic process can be seen as a diagramme in Deleuzian terms: a field of forces where the initial chaos of the line meets the imposed order of my mental and digital intervention. The diagramme does not represent a definitive image but constructs a new visible, an unstable balance that invites viewers to explore the network of relationships underlying the work.

The Line as a Sensory Exploration

For Deleuze, the line is not meant to represent but to generate sensation. This concept is central to my practice: the fluid and broken lines, the tension between freedom and precision, do not narrate a story but evoke moods and perceptions. Each piece becomes an open space where viewers can reflect on their own relationship with chaos and order, intuition and structure.

My practice is rooted in an intuitive awareness that transforms gesture into experience. Each line is a fragment of a larger dialogue, a trace connecting the artist’s inner world to the external environment and bridging this connection with the viewer. The line is not only a gesture but a living network of relationships, constantly evolving and expanding.

Conclusion: The Line as a Living Act

My line is never static or isolated. It is a living element, a response to the complexity of the world and the sensations it provokes. Situated between surrealism and Deleuze, between automatic gesture and diagramme, between chaos and order, it invites exploration of the folds of perception and thought. The line becomes a visual experience, capturing the essence of movement, relation, and becoming.