Geometry is the language of the Universe

Pythagoras

Geometric forms are absolute, eternal, and, in a philosophical sense, necessary. They grant us dominion over space and mastery over time. In their quiet self-containment, they hold both the origin and the end of the cosmos, from the first atom to the final constellation. They are omnipresent, woven into the very fabric of life’s beginning and its inevitable fate.

One might believe that geometry is merely a human construct—our way of taming the infinite, of imposing reason upon the boundless. It soothes the vertigo of the void, offering a sense of comfort in our own smallness. With geometry, humanity dares—if only for a moment—to play God, bringing order to chaos, shaping matter and form, naming what would otherwise remain ineffable. It allows us to brush against divine perfection, to sublimate beauty itself.

Geometry transcends reality. It is a language through which humankind re-creates the world in order to understand and master it—a journey that moves between metaphysics and aesthetics.

As old as civilization itself, geometry was born in Sumeria to enable the rise of monumental architecture; in Classical Greece, it became the guardian of beauty and perfection; for Rome, it was the silent force behind its imperial engineering. Though never forgotten—how not to think of Gothic cathedrals—its rediscovery in the Renaissance, as the foundation of perspective, secured its place in art never to be lost, just until the Avant-Garde found its consecration as it evolved from technique to subject, becoming a genre in itself. 



When geometry as a process of ordering  space becomes the heart of artistic creation, the sculptures, paintings, and drawings it produces hold an undeniable allure—a dual experience, where intellectual challenge intertwines with aesthetic pleasure. Anyone who perceives geometric art as sterile or meaningless falls into the sin of judging by appearances: beneath lines, polygons, and planes, emotion and feeling are always simmering— the full force of creation, deliberately restrained, where artistic expression is willingly subjected to the laws of science. The result inevitably provokes reflection and often opens the door to passion. A passion that, while never losing its form, can easily slip into madness.

There are #madaboutgeometry enthusiasts among both artists and art lovers alike. For those who are afflicted by it—and for those who are not—this exhibition aims to be a small point of light, a humble keyhole through which to glimpse wonders. Aurora Cid, Pablo Maojo, Pedro María Asensio, Roberto Chartam, and Antonio Rojas form a magical pentagon where geometry transcends technique or artistic resource to become, unapologetically and by its own right, the essence itself. Color, form, and matter follow, always at its service. Their structured labyrinths, their pure forms, grant them mastery over the third dimension. Whether geometry is a construct or not is neither our concern nor theirs

Jesús Cámara

Curator of the exhibition