Once upon a time there was Silence.
Once upon a time
there was the Void.
Once upon a time there
was God The Universe.
The Goddess Mother Nature.
They were there.

Goddesses, Gods and Mankind.
Once upon a time
there was the Man.
Stone, Paper and Scissors.
World with Light.
and Wisdom,
They were there.

There was Knowledge, Logic, Abstract Beings.
Once upon a time.
They were there.
Beauty and Truth,
Truth and Goodness,
Goodness and Beauty.
Waking Dreams.
Light and Shadow.
To Know To be Nothing at all.

Distance between Moments.

They were there.

And God created a World
in his Own Image.
Time Machine, Hour Glass,
Death Foretold, Blood Forgotten.
Once upon a time.
They were there.

Flat Earth, Cylindrical Earth,
Square Earth, Round Earth,
Oval Earth.
Sacirema!, Sacirema.
Once upon a time
there was an Unfinished Task.
A Task Never Finished.
There was, There was, There was.

Man, Sculptor, Painter, Inventor,
Engineer, Architect and Philosopher,
and Man.
Father Firmamento, Astronomer,
Philosopher, Mathematician
and Physicist.
They were there.

Once upon a time,
Men Heads.
Reason Without Being.
They were there.

Once upon a time,
Love and Lies,
Rejected Poets,
Once, was To Be.

Hopscotch, may it Survive!
The Virgin.
The Caves.

Once upon a time there was Pride, Pride and Pride.
Once upon a time.
Gods in their Image and Likeness.
Mystics, Madmen and Prophets.
There was SuperMan.
There was.

Once upon a time there was Man,
Lost World,
Earth Misused.
Forgotten Universe.
Music without Life.

Once upon a time.
Once upon a time!!!

and Colour

Once upon a time a Boy,
a Girl and a God Mage.
Once upon a time a Boy
and a Girl Magi.
Once upon a time Hocus Pocus.

Once upon a time Life.


Patricia Bonet. Castellón. 2012

After an expected delay we get onto the plane, I have been allocated a large space next to the window, I take my seat. We have not yet taken off and everyone is doing the same as me: putting their things away, getting out their reading matter, their headphones, blankets, ... Some flicking through the menu, others looking out wistfully, and others filled with a kind of concern, some cross themselves. I take off my shoes, do some stretching, close my eyes...
In addition to a great deal of confusion, other things and several gaps, your lines come into view. Your lines, like your blue, your seas, your horizons, feel a bit like mine. A feeling without possession.
You have asked me to write something about your latest exhibition. You are well aware that I am not very adept in this matter, but you also know about my blind admiration for what you do.
I let the grey clouds of thoughts move away and begin to listen, to visualise your paintings, those lines which still live beyond the canvas; because living is breathing, isn’t it?
During the preparation of this exhibition I have been, for want of a better phrase, an almost silent witness, a voyeur that took advantage of your absences to observe, scrutinize, how the order of lines was evolving.
Like trying to catch a melody in a twelve-tone piece, with the short sightedness that gives us the concrete, I remember that at first I saw lines, just that, lines. Lines stretched across the canvas with precision and force. Areas that were populated by the horizontal, vertical, parallel and perpendicular, and where colour shyly dawns. Somehow when observed alone and looking for something to help decipher the order that locks the lines in, the alchemy far from enhancing the canvas, expanded. "It is the magic of the abstract", we say with the blitheness of the ignorant.
I'm not sure at what point the lines began to vibrate in front of my eyes like strings plucked by an invisible finger. Stunned, once again I followed with perplexity and admiration as your brushstrokes evolved, with the magic of your force. Your swift surround of the canvas, your comings and goings, as if carried on the gentle breeze of sweet music coming from the radio, then sudden twelve-tones, next waltzes, now adagios. Yes, music. From the first canvas it looked like music was subtly taking over your sketches, or your sketches were incorporating music into them, until they become the same.
You left, leaving the studio door open for them to breathe, switching off the light and music. Silence, darkness and absence, the solitude of the rainbow I thought, as I walked into your studio, turned on the light and there they were, tracing, deflowering the white abyss, lines and colours, whose difficult execution was pushed to one side by a simplicity. Of concept?? I’m not sure how to express it. It’s like in nature, where honesty and simplicity are qualities that transcend our own nature. Linear spaces having ceased to be. And also as in nature, tension and balance coexisting, opening unexpected doors, doors that open not to escape through, but to enter and stay. Creating a vibration of colour and shape that causes growth, a disappearance of spatial area, absorbing it, transcending it. Then in this abandonment, in the silence of your absence, the music of your canvas floats on the air, a language beyond that of sound beyond colours and shapes, beyond words. Your work blended with the music, being music, like a wave and the spray, or a tree swaying in the breeze that is the breeze.

I think I took about two days there, two or three days without time. Days when time is diluted like a useless memory. It's difficult to stop and listen, what do you hear? What do you see when you close your eyes and listen?. In the past, when we were children we were able to hear the future, to hear exactly what would happen tomorrow and what would never happen. We heard with the same clarity that a fish hears of a flood. I am incapable of remembering what I heard, because maybe I never listened. But when you're a child you hear with your eyes closed, with your nine senses, but little by little we grow and our mind is filled with thoughts of our broken dreams and we lose our senses one by one. Yes, little by little, we lose them. It's hard to hear, to stop and listen. What do you hear? What do you see?
Closing my eyes, closing them as I closed them in the past, I hear animals such as, snakes, fish and insects, worms and birds, animals I know and sense and others that I’ve never seen or can even imagine. Closing my eyes I also hear the herbs, plants and trees, their leaves, their branches and roots climbing and sinking. The fruit, the thorns and flowers, their colours and their perfumes, I hear. Yes, I've heard their breath just as my own. I hear their shapes and sizes, the light and shade, the breeze, the wind and the rain, the torrents of flowing rivers and those that have disappeared leaving their sound lingering in the dry beds, in stones, in the dark green moss. I hear the grey turning to silver on rocks and stones, the mist kissing the valley. I hear the night, and at night I hear the memory that holds back what is to come, as light stretches out and illuminates the sky with a thud of orange-red, drawn onto the violated blue and black. Smells, notes and silences, shapes and colours that are sound, as one is the other, presence and absence, nostalgia and affection. Yes, under the sky of daybreak I now hear the footsteps of what we were before we were human, the tread of plants and animals, rocks and fossils. The music of Ancient Memory in the earth, in plants, under fire, under water. I hear the Mother with her sacred voice, and everything, absolutely everything is music, a wonderful symphony harmonizing melodies to melt into the warm breeze, the song of a single bird in the calm before the storm.
Yes, your brushes harmonize in the air, cadences that visibly flow and land on the canvas in vibrant lines, they speak without words, and they are words without speaking. Because when you stop to listen you hear silences, the many different silences that we inhabit. Silences that don’t resign themselves to the same skin.
Although you are not here you sit down. You sit close and you sit by my side.

Xano Viciano. Writer. Castellón. 2012

Taking a look at the latest collection by Patricia Bonet, Imaginarium, one of its most striking aspects is its strong universal character. From the moment that is frozen on each canvas, Patricia Bonet shows us her view, removed from fashion, to give us an abstract and geometric vision belonging to laws that are above the tangible. Modern algebra of the nineteenth century, or the early twentieth century twelve-tone musical system introduced by Arnold Schoenberg, the emergence of the avant-garde in architecture, painting and sculpture, all seem to speak the same language, changing the way we understand art, throwing open the doors to modernity.

We can therefore analyse imaginarium through a modern masterpiece illustrating this attitude towards the world - Philip’s Pavilion built for the Great Exhibition in Brussels in 1958. We can reflect on concepts that have preoccupied man throughout history: beauty, order, proportion, art, nature and colour.

Let’s begin by briefly explaining Philip’s Pavilion to better understand the suggested similarities between the two works and the synaesthesia that architecture and painting establish with music.
Philip’s Pavilion, was part of the World Fair in Brussels held in 1958, between World War II and the Cold War. The initiative came from Christian Kalff, artistic director of the company, and who commissioned Le Corbusier to manage the project that would become the perfect synthesis between art and technology, space and image, music and words. Realised through a space that was designed more as an electronic poem than as a building.
Musician, architect and engineer, Iannis Xenakis collaborated with Le Corbusier in the research to develop the project. Interested in the relationship between music and architecture, Xenakis used Le Corbusier´s ´Modulor´ and mathematical relationships as a model to experiment in the field of music. The result of this is his work Metastasis (1953-54), a composition of transforming musical clouds known as glissandos. In his book "Formalized Music" Xenakis highlights the value of glissandos and explains how when they are long and sufficiently intertwined, we get sound spaces continuously evolving, enabling the production of ordered surfaces by straight lines called ruled surfaces.
This concept materialized in the Pavilion through a succession of straight lines on a precast concrete base tensed with cables, making nine hyperbolic paraboloids and which generated the exhibition space.
Other participants in the project were musician Edgar Varèse "Poeme Electronique" and Jean Petit and Philippe Agostini for the visual spectacle.

There are many theories that have tried to answer the long standing concern with the search for a gold number enabling mathematical and geometric relationships to bestow reason, proportion and harmony to the universe. From Pythagoras´ ancient theory of "harmony of the spheres" and Vitruvius with his famous "architectura" to Le Corbusier´s modern theory with the "Modulor" through the Renaissance of Leonardo de Vinci and his "Vitruvian Man" and Alberti with "re aedificatia".
In his commitment to establish architectural order in his work on Philip’s Pavilion, Xenakis reused the ´Modulor´, Le Corbusier´s philosophical emblem, helping him in his search for beauty, order and proportion. It combined the measurements of beauty and perfection based on the proportions of the human body, with the idea of architecture conceived as mathematical microcosms: "a man with a raised arm gives the key points in the occupation of space: the foot, the solar plexus, the head to the fingertips of the lifted arm, three intervals which give rise to a sequence of golden sections called the Fibonacci sequence; and furthermore, mathematics provides the simplest and most powerful variation of a value: the simple unit, the double unit and two golden sections "(1). This range of harmonic measurements indicate the musical equivalence facing the serial method and random indeterminacy, as maths must show the workings before a final notation
These aspects are found in the compositions of Patricia Bonet which present in the combination of background and figure. The backgrounds painstakingly worked, in some cases suggesting a lattice in the style of a pentagram, structured by straight lines with the insertion of geometric elements, at times even appearing to glide. In others, we are shown flat backgrounds which could well be the equivalent of silence in music or vacuum in architecture, the backbone of each work giving it true value unlike their opposition. The sound or fullness is represented by square, circular and triangular shapes. How could it be otherwise? Patricia Bonet chooses these basic figures in search of Platonic beauty “What is meant by beauty of form is not what is generally understood. For example not that of living things or picture representations, I mean straight lines and circles, planes or solid figures which are formed out of them by a set of compass and rulers or a set square, these are not only relatively beautiful, like other things, but they are eternally and absolutely in themselves” 82) These two worlds seem to be part of a cognitive superstructure and only in their dialogue is their timeless and intellectual beauty understood. One that belongs to a world of silent order and the other moving in harmony with it.

To say that the Philip’s Pavilion is part of nature because of its organic shapes would be like trying to see shapes in the clouds. Le Corbusier defined art as a system capable of organizing sensations, and the work of art as a task consisting of putting human artificial creations in order, based on the observation of nature, but differing from it. Built according to the laws which come from the observation of natural phenomena.
Patricia Bonet also seems to have taken a committed and clear stance regarding this. It could be said that her paintings take us closer to a point in nature beyond which the human eye can see, to the macro or micro space, where it comes down to the most basic forms, where everything begins and ends. Some of her paintings can be interpreted as landscapes or sunsets, but putting aside these subjective or even superficial impressions, the truth is that her compositions reconnect with the everlasting universality of the abstract, where the qualities are measured by the things that are understood perhaps the ones that most closely approximate to the nature of man.

Beyond establishing adjectives associated with musical notes and colours, Goethe said that colours and sounds did not lend themselves to comparisons and expressed his respect for anyone who succeeded in doing so. Xenaquis delved into the depths of music in order to associate it with other arts until the point where he came to design the system "UPIC"; a table which transcribed graphical notations into sounds. These principles helped in the creation of the musical genre known as spectralism in the seventies. This was based on the discovery of the nature of musical timbre and spectral decomposition of the musical sound supported by the technique derived from computer-assisted analysis and synthesis.
If we freeze an instant of the work Metástastasis by Xenakis and observe its spectral view we don’t not know if we are in front of a decoding of a moment of his work faced with the colours in which the light is broken, or contemplating a painting by Patricia Bonet, with her consistently worked colours on the canvas.
For Patricia colours are like DNA that you can’t escape or hide from, and are therefore intense and enveloping. The red is the same for each picture in her collection and so it follows with the other colours, each pure, flat and without shadow, teaching us that the reality we perceive is only part of what surrounds us.

Miguel Martínez Castillejo + Pau Batalla Soriano.
Arquitectos EMAC. Benicàssim 2012
Una mirada tangencial.pdf

Each new score that falls into my hands is a secret to be discovered. I thoroughly study and analyze the information it contains, from the overall structure to the smallest details, to extract both the technique that will allow me to physically interpret the piece emotionally and the aesthetic, what the music "says". In this way is the process of "giving life", converting these "doodles" on paper into real sound.

The interesting thing about the wonderful art of sound is what it "says" cannot be expressed in words. It is a journey into the secrets of the universe (of the spheres, like the ancients Greeks) revealed by each composition (or improvisation!)... Each one with its enigmas that the creator has discovered from a deep relationship with the piece and then generously shared with us, so that, through our contact with it (the work) and our interpretation ("the life we give it when actively listening") we experience an intense relationship with a part of it "that which remains."

It is no surprise to know how important music is to Patricia Bonet, deeply rooted in her creative self and in what she shares, from my viewpoint, the natural search for the mysteries of what exists. Painting, like music and other arts, is based on mathematics: how to divide or enter a space (physical or temporal), with the elements we use to "say" what we have inside, exposing those secrets with those we internally connect. Getting to the depths of the absolute, where each line, each element has its specific place, sacred, that gives meaning to its existence and the space that contains it.

These overlapping lines, linked and connected in different ways are "mathematics" (full of study, practice and excitement) that take us into the creative world of Patricia Bonet. The palette of colours so well-conceived and defined throughout the whole series in a sort of harmonic set that gives unity to what might be called symphonic/pictorial poems.

I heartily encourage you to spend a few minutes experiencing each canvas. Maybe a general look to start and then stop at one of them, to really try to discover what secrets it contains, for they are many. I invite you to come back! In a day, a week, or minutes later ... to look through the windows that connect us to our self, and therefore with the mathematics of the universe.

Enric Monfort. Músico.
Barcelona/Madrid. 2013


110*110cm. Acrylic on canvas


150*150cm. Acrylic on canvas


110*196cm. Acrylic on canvas


110*196cm. Acrylic on canvas

150*150cm. Acrylic on canvas


110*110cm. Acrylic on canvas


110*110cm. Acrylic on canvas


150*150cm. Acrylic on canvas


150*150cm. Acrylic on canvas


110*196cm. Acrylic on canvas


150*150cm. Acrylic on canvas


110*196cm. Acrylic on canvas


110*196cm. Acrylic on canvas


Patricia Bonet