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In this essay, Eugenio Espinoza analyzes Dibujos sin papel [Drawings Without Paper], a series of works by Gego, a Venezuelan artist of German origin. Espinoza focuses on the works from that series created in 1985 as he explores the way Gego goes beyond drawing, applying all of its techniques to three-dimensional space. He finds a “gestural or calligraphic intention” in these works that breaks with any rational structure, making way for the unexpected and the unfinished in an attitude that is irreverent even toward the aesthetic of Gego’s earlier work.
In this text written for the exhibition Gego. Dibujos. 5/85 held at the Museo de Barquisimeto in July and August 1985, visual artist Eugenio Espinoza (born 1950) places emphasis on the clarity and sensitivity with which Gego (Gertrud Goldschmidt, 1912–1994) engages the dual nature of the works in her Dibujos sin papel series, insofar as they are two- and three-dimensions. Mariana Figarella had characterized the dual nature of Gego’s work as ambiguity (Gego: Dibujos sin papel, Museo de Bellas Artes of Caracas, 1984); Espinoza furthers this analysis, describing the elements of which that ambiguity partakes. Indeed, in his view, this ambiguity consists of applying drawing techniques to three-dimensional space. Espinoza was a student in Gego’s Seminario de Relaciones Espaciales [Spatial Relations Seminar], which she gave at the Instituto de Diseño Fundación Neumann—INCE in Caracas. The illustrations for this catalogue, like the ones for the exhibition Dibujos sin papel (Museo de Bellas Artes of Caracas, June–August 1984), were made by Gego herself. The two-dimensional representation of these works produces further confusion about their genre: although they are drawings without paper that originally operated in three-dimensional space, they can be faithfully rendered by the artist on paper, that is, in two dimensions.