Some time ago, while lingering over the geometries of some patterns, we became fond of finding affinities with other cultures and techniques far from us in time and space.
The engraving on cardinal ceramics dating back to the Neolithic period, for example, seems to be at the origin of our “chevron” and other widespread decorative motifs. All patterns that have traveled, that have multiplied and evolved, “contaminating” different cultures and leaving indelible traces in the objects born from the encounter between different peoples.
We like to think that the diffusion of ornamental motifs – today universally called “patterns” – traces the timeless voyage without borders or passports that culture has made along the length and breadth of planet Earth.
A journey that began in prehistoric times and never ended. These forms, sometimes simple, sometimes complex, pass through the drawings of children, are discovered in the material of works of art, on surfaces of any material and size.
They are a universal language, a visual esperanto that cannot be delimited, an immaterial heritage that belongs to all men and that we humans continue to need.
