[four notes of symbolic order]


As soon as I recall my brief encounter with Francisca Benedetti, the first thing that comes to mind is a prodigious faculty for inattention. She did not seem to be altogether in what she said and much less in what one might said. It was as though she was silently talking to herself. And this art of talking inwards rather than to other people kept reappearing symptomatically. That apparent distraction, or rather lack of attention to the immediate present, introduced a distance that allowed us to temporarily position ourselves outside and protected from time.

Obsession is a gesture that emphasizes the fragile nature of objects. In this sense, the combinations of geometric shapes, specifically the triangle (either upright or reversed) configures a composition that refers to abstraction, and in the specific case of the artist, to the frequently overlooked work of the so-called women of Bauhaus. Like them, the essential is to locate the core and define points: grids, meticulous forms and the fruition of a hand outlining instructions in a circle. But if the human being is a union of opposites, the circle that symbolises unity and perfection cannot hold any meaning. Everything eludes it: the triangle, the square, the pentagram and Solomon’s seal. And if man is indeed born spiritually, he keeps secret the figure, corresponding to the number 3.


One of the things that stands out most luminously in these works is not the aesthetic experience but the deep symbolism they harbour. The symbolic gem, so undervalued by those who espouse strict rationalism, arises in these drawings as a basis or an idea in its most fundamental sense. Through it we bind the being to life, we create language, invent worlds, play, suffer, change and are born. Perhaps that is why to see the symbol is to presume death, or at least to reawaken forgotten things.


The triangle correspond to this number and can be extracted only in relation to other geometric forms. Boethius called it the first surface: every form, if you make a line from the centre to the corners, can be divided into various triangles. The triangle is also the basis of the Mayan pyramids. Divinity, harmony and proportion, we often find this form employed as a talisman against malign powers. Sunbeam glyph, analogue of the rising corn seed, it breaks through the surface and mimic the sun itself turning into a double representation of fertility.


fire and masculinity                                                                 water and femininity

(Purusha y Prakriti)                                                                       (Shiva y Shkati)



Alchemy of fire

also of the heart

(linga y yoni /sattva y tamas)   



Triangle  mountain or cavern:

two hands grasp like the Andes until they meet the Pacific Ocean. A series of abrupt starry edges or the sentimental geography of a hug that evokes the geometric discovery of pre-Columbian civilizations. The metaphor associated with the triangle is the release of a long chain of relationships that finally point the same way: conceived art is a form of life that employs symbols and revisits myths to achieve revelations within its own integral poetic. In these works, the artist gives way to something that is universal, understood, recreated and forever acclaimed.  


Juan Yolin