Drawing allows an experimental dialogue, which is fundamentally concerned with the connection between asking questions and the “diversity of reality,” and which goes far beyond all possible (iconographic) languages and logical structures. In fact, drawing is very close to a thought experiment; its function is not limited by the issue of realization, which means it can contain a large utopian element.
The attempt to integrate different systems (iconographic languages) into the context of state and development creates “space-time” choreographies that evolve in a non-continuous world.
Language and drawing are “operations” within the diversity of realities; they give impulse to the effectuation of structural change and to a “disturbance” of states, concepts, and things. The possibility of forming internal structures is dependent on the subjective experience of the viewer, the communicability, the relevance of the question, and the admissibility of the abstraction.