A line is not always drawn: sometimes it emerges at the edge of a color, in the crack of a wall, in the worn band of a city. It is there, in the almost invisible, where the eye invents horizons and discovers that within the minimal lies inexhaustible richness. It is in that intermediate space that the work of Ramón Laserna unfolds.

In Laserna’s work, horizontality moves and transforms. His photographs of urban baseboards and panoramic landscapes turn the everyday into bands that repeat and erode, revealing the latent geometry within the environment. In these baseboards, the meeting of two weathered colors produces the illusion of a line —a chromatic frontier that does not truly exist as a physical mark. A perceptual phenomenon is activated there: the line is not drawn; it is generated by our gaze at the boundary between two tones. Thus, color becomes line, and the line becomes the sign of an urban landscape transformed by perception.

Photography and drawing intertwine in his practice. The camera replaces the hand’s gesture, seeking in the city what the hand could not trace; and drawing, in turn, reclaims mechanical precision to restore fragility, error, vibration. These two dimensions converge: the urban and the geometric fold into a single territory of lines that repeat, break, and transform.

His linear drawings—precise yet traversed by manual variations—produce optical vibrations that make the gaze oscillate, never allowing it to rest. In his wooden mobile structures, horizontality becomes active: the pieces shift, break the grid, and generate new intersections of lines that transform perception. This movement—sometimes physical, sometimes purely optical—turns the viewer into part of the work. Vision is no longer passive: it requires moving, approaching and retreating, testing angles, recognizing that the image is never fixed.

Color appears more as illusion than as a stable surface. In his most recent investigations, Laserna translates the names of colors into basic geometric forms—points, lines, rectangles—creating a visual code in which language becomes geometry and geometry becomes vibration. Horizontality once again manifests itself as sequence, as a band of signs that organizes the plane and transforms it into an optical landscape.

Echoes of those who sought in geometry an essential language resonate in Laserna’s work. From Mondrian and van Doesburg, he inherits the aspiration to reduce the world to its primary structures—line, color, plane—but his gaze introduces a fissure into that order. Instead of pursuing purity or absolute balance, he lingers on what vibrates: the tremor of the trace, the mark of wear. Where the tradition of geometric abstraction yearned for equilibrium, Laserna embraces oscillation—the movement born of perception, making the image never just one. His works do not aim to fix a formal truth, but to keep it in suspension, open to the participation of the observer.

Horizontality, then, is not merely a compositional device: it is a field of experience. It is the urban and natural horizon condensed into bands of color; the grid that orders and disorders itself; the gesture of placing the viewer before a line that seems simple yet multiplies into vibrations and shifts. Laserna turns the minimal into the unstable, the stable into the vibrant, and the everyday into a space of perceptual contemplation. His work does not seek answers but keeps open the space between two: between what is seen and what is imagined, between the trace and the illusion, between what the city offers and what the eye reinvents.