This article by the Venezuelan teacher and art critic Víctor Guédez examines the work of the German-born Venezuelan artist Gego (Gertrud Goldschmidt, 1912–1994) from a semiotic (more specifically linguistic) aesthetic, and also from a visual art perspective. Guédez goes further and establishes a “critical discourse” that clearly and succinctly explains and classifies complex aspects (and concepts and functions) of Gego’s work. His style and brevity make this newspaper article accessible to the general public due to his use of terms, such as “alphabet,” “vocabulary,” “codes,” “discourse,” and “dissertation,” as well as concepts that are commonly used in the visual arts, such as volume, void, space, and form that in his opinion, do a good job of defining and describing Gego’s work.
It is interesting to note Guédez’s lucid explanation of the role of the “dot” in Gego’s work, as inseparable from the “line,” which is the element that is usually mentioned in traditional descriptions of her pieces. Another important contribution in this article is the suggestion that the description “a projection of lines in space” should be changed to “a projection of dots, lines, and spaces that reactivate an environment.” Guédez also proposes this “description” of her craft: “Gego’s works are compositions created with visible lines that function as a chain that is articulated by means of sclerotic dots and is defined by the presence of activated voids.”