‘Tramas', an exhibit of Ramon Laserna in La Balsa Arte Bogotá, moves along with the development of his work of the plane and line. Laserna, has continued in his work to faithfully explore the basic elements of composition as elaborated by Wassily Kandinsky and various Bauhaus artists.

The work derives from the investigation of the basic constituent elements of the image, color and, through repetition, the definition of the plane. As the basis for the creation of the visual image, the line, defined by color, is reduced to its minimum expression. From the repetition of lines, the plane is created; from the intervention with thread on the drawn lines, a new configuration of an optical nature becomes visible; each element of line or string is worked separately to then generate new configurations that produce different effects of vibration and color. It is a combinatory art where the order of the lines, drawing and thread, alter the result.

That is how Kandinsky defined the ideal process of every investigation: from the consideration of each element or phenomenon separately, it is proceeded to the consideration of the opposition or combination of different elements among themselves. From the interaction of colors, a new image is generated and a and a moiré-like vibratory movement that generates an oscillating perception, according to the point of view.

The elements of color are decomposed on the basis of the threads woven on the initial weft, in a 'zen' exercise of meditation and patience. The background of the problem is scientific: the human eye and brain translate light into color, and the spirit perceives its effect aesthetically, associating it with emotions. This is the foundation of aesthetic experience. Newton had already discovered it; color is not inherent to objects. Color is a sensation reflected by waves or impulses that reach the brain. It is interesting to see the development of this work, whose origin was initially in the registration of the plots that are observed in the city: overhead wires, meshes, floor grids, fences and other constituent elements of the urban visual repertoire.

To reach minimalism and the abstraction that characterize the new production, two lines of thought can be traced. First, the aforementioned path of observation of the matter that composes the urban scene. Secondly, the work refers to what we can call a neo-abstraction with roots in modern movements such as the Bauhaus. Johannes Itten, Joseph Albers, Annie Albers, Sofie Tauber-Arp and so many other members of this group sought to realize the alliance between craft and the spirituality in art; they focused on the aesthetic quest freed from historicism, in favor of a new, pure, abstract but emotionally charged art. This is the search for 'the spirituality in art'.

It is with great admiration that we present this work, in the conviction that aesthetic languages are renewed through disciplined research and talent. Today a new abstraction is talked about, particularly the one that arises from contemporary concerns that have resonances in the artistic movements of the twentieth century. These are different ways of dialoguing with history.

In the national art scene, there are many divergent voices, and on occasion, a cacophony of voices repeating the same thing. Laserna has been able to find his way in art with independence, focused on his observation and constant experimentation.