When doing the walkabouts (ritual journeys) throughout the Australian continent, the Aboriginal people guide themselves by imaginary maps that exist in their ‘songlines’. According to them, the actual trails and routes don’t exist until the moment they chant the songs/maps and begin a continuous process of re-creation.
The geometric patterns found in the medieval Islamic monuments also bring to us this idea of never ending re-creation process. The lines and forms that produce the geometric designs present in the buildings seem to “design themselves” in front of us, and offer many possibilities of “paths” to be followed.
Many times we can’t see one particular geometric form until we decide to follow the “trail” that will take us to it, and at the next moment we may follow another “trail” of lines that will take us to another geometric design different from the previous one, but that was there the whole time.
When we see a geometric mural/panel this way, it looks like a huge map containing inumerous possibilities of trails and paths, just like the Aboriginal songlines map their continent.
We can say that this ‘trail of geometric patterns’ offers to the observer an imaginary map in which he finds these many possibilities of paths and trails. In such a way, he can build himself his own paths, warps and songlines.
It was the intuition of this inherent movement of the geometric patterns that led me to develop my own work of research and translation of these patterns made since the IX century to our days.