Music and the numerical cadence of rhythm were for Elena Asins a constant source of inspiration in her work. Asins began to work during her stay in Hamburg in the 1980s on the Canons series based on the idea of the fugue compositions of J.S. Bach’s Canons. Asins collected information from these compositions to shape them plastically; that which is inarticulate language of the everyday and the temporal frequency is what he transcribes in his papers. All this makes up his discourse of the canons. At the end of the 80’s, the artist slowly encompasses a series of works under this title. In the Canons series, Asins starts visually from a melody and develops imitations, obsessively and meticulously repeating elements with slight variations.
His work is always a logical proposition whose essence lies in the distribution and arrangement of spatial objects. This reciprocal position of one with the others and of one towards the others expresses relationships. Therefore, in any development or variation it is understood that the complexity is due to a certain relationship.
Asins transfers the compositional structure to the plastic space with linear strokes that form the architecture of the drawing, generating sound and silence, volume and emptiness. According to the artist herself: “the key in generating sensations through artistic production composed by computer is to look beyond pure visibility; to interpret the work as a sequence, a reading or, in this case, as a score”. If there is a verbal interpretation, a reading and a journey through the work, it is also possible to musicalize that work.