This poetic article by the Venezuelan writer, Elízabeth Schön (1921–2007) was written for the innovative, avant-garde Venezuelan review, CAL, –Crítica, Arte y Literatura [Criticism, Art, and Literature] (1962–67). Its interest is in the writer’s hypothesis about the work of the Venezuelan artist originally from Germany, Gego (Gertrud Goldschmidt, 1912–1994). These issues are still widely discussed in formal and academic criticism. The ideas in play include the autonomy of the drawings, line without referents, and the similarity between Gego’s work and forms in nature. These are frequent discussion topics for scholars researching the artist’s work today. Moreover, the approach to the work of this creator from a lyrical perspective was not the least bit unfamiliar. In fact, on many occasions, Gego’s work lent itself to interdisciplinary readings of this kind. Writers such as Salvador Garmendia (1981), Ida Gramcko (1984), Rafael Castillo Zapata (2002), and Luis Enrique Pérez Oramas (2006) all made use of the breadth and suggestiveness of the metaphor to address Gego’s work. Gego herself maintained close ties with the Venezuelan literary world, creating works in collaboration with several writers. A good example is the work Lo Nunca Proyectado (1964) [The Never Projected], which combines the artist’s intaglios with the poetry of the Venezuelan writer, Alfredo Silva Estrada. It is entirely possible that Elízabeth Schön wrote this article based on that very work, which was created in the same year.
