"The cut in Mar Arza’s works settles as a graphic sign, next to all those that form the writing’s grammar: the dot, the comma, the line, the paragraph, dotted lines… which are, in their turn, signs which module the time and the breath, and, as such, marks of a musical language (as we surprisingly discover in her in-between lines) and corporal language (the eyelid and the eyebrows in one of her photographs look like parenthesis). Thus, the cut, as any sign, signals something.
Because life, unlike history, as Luisa still writes, does not recognise discontinuities –nor in the temporal or figurative sense. The latter means that we are not independent from one another. We can beautifully perceive that in one of Mar Arza’s latest works, Incís… (2012). At the center of a sheet of paper’s white vastness, a measured vertical cut is opened, creating an arc-en-cercle such as the one in the representation of the hysteric woman’s body. The figure/the cut/the body folds, abandons itself, yields by gravity towards us; it does not yell but offers words to us, it does not break off but remains free while being linked. And as if it were a tongue, it invites us to the pleasure of a renewed reading." ASSUMPTA BASSAS VILA

Handmade paper, fragments of text. Series of 4 sheets, 170 x 120 cm each. 2013.