The term geometry is derived from a Greek word meaning “to measure land”. This ancient discipline is present in all of nature and, consequently, the intimate structure of all existence; from molecules to galaxies. It therefore predates and underlies every form of human creation.
Geometric forms trace a continuum throughout history and are forever linked to the immutable laws of the universe. From the beginning, geometry has also been a facet of everything created by human hands. As such, it is no coincidence that, for centuries, geometry and its forms were identified as some of the most important precepts of Magic.
The harmony inherent to geometry, which is present throughout the work of Amalia Valdés, was perceived in ancient times as one of the manifestations of a Divine Architecture. This theory stated that certain metaphysical patterns could be found in every manifestation of the physical universe.

This is a good place recall that throughout history mankind’s inner reality, which transcends external forms, underlies its understanding of these sacred geometric structures.
It is, accordingly, just as valid to construct a painting according to the principles of sacred geometry as it was in the past in the Egyptian, Greek, Roman, Islamic, Gothic or Renaissance worlds. As we move beyond the fresh, contemporary visuality of Valdés’ work, it is easy to trace a direct lineage to knowledge that has its roots in a specific human need: the search for the proportion and harmony of sacred geometry, which provides us the basis to relate metaphysically to our discovery of the intimate structures of matter.
The precepts of this ancient geometry run beneath the vibrant colors of Valdés, even as they did in places as distant in time and space as the pyramids and temples of ancient Egypt, Mayan temples, the tabernacles of Jehovah, Babylonian ziggurats, Islamic mosques and Christian cathedrals. An invisible undercurrent that connects the work of this Chilean artist with the immutable principles of these sacred structures that sought to replicate forms found in the cosmos.

One of the principles of sacred geometry is found in the Hermetic maxim “as above, so below” and also “that which found is in the smallest of worlds, the microcosm, is a direct reflection of that which exists in the larger world, or macrocosm”. The Principle of Correspondence lies at the basis of all arcane sciences, wherein the forms of the manifested universe are reflected in the body and constitution of mankind.
And we recall that every shape is inherently invested with symbolic and psychological significance, such that every geometric outline (and, consequently, everything executed by human hand) necessarily involves these symbols. Geometrics, thus, propel us along a mysterious pathway of the ideas and concepts embodied in the significance of Gesture. Notably, and without exception, they also bring to mind the abyss from which all things came into being. An abyss from whence every structure in the natural universe sprang forth: the organic as well as the inorganic. From this perspective, we can readily deem the work of Amalia Valdés a direct descendant of one of the oldest magical manifestations of art; although in her case said ancient rituals are as up-to-date as they are true to their ancient, magical and sacred sources.



Yael Rosenblut
July 2013