Travesia
India ink, w/c, 24.75 x 19, 1983

Several elements cohabit here. In a Latin Square with shapes created from "boundary-dissolving" rules, one shape disappears entirely, cutting the map into two parts. A graph is superimposed over the map, its vertices represented by symbols. The lines connecting the vertices follow yet another set of rules extending the concept of "adjacency." The 12 symbols at the graph's vertices can be mapped onto the 12 musical tones of the Western diatonic system and derive from a transform of the underlying tiling patterns. The four colors applied to the symbols are derived from a "four-color solution" to the coloring of the original tiles in the Latin Square. Finally, elements suggesting natural symbols or language float around the periphery, to suggest that the symmetries in the microcosm of the drawing are the same that govern the macrocosm of culture in which all artworks are embedded. Perhaps that is why the fish swims through the maze on a watery blue line that becomes the trace a bird marks against the sky. First exhibited in the Joan Miro International Drawing Competition, 1983.