“I’m not going to define ‘object’ because I don’t really know what it means—in other words, I wouldn’t know how to theoretically distinguish an aesthetic object from a utilitarian one, because a utilitarian object can also be an aesthetic object. I’m just going to give you an idea of how the objects I made came about—in a way, out of chance and curiosity. I was once given a large amount of delicate Japanese paper. I stored it, not knowing what to do with it. I had no plans. Sometime later, I started to work with that kind of paper, but it tore, it couldn’t stand water, couldn’t stand anything. It was very delicate. Then I met a woman who worked with monotype and I thought that if I used the monotype technique…, I could draw on it. I did several experiments and succeeded, which led to the whole series of drawings on that paper. . . . After that, I discovered a factory producing lighting materials and the idea came to me of mixing that very transparent paper with equally transparent acrylic laminates. That’s where the large plate Objetos gráficos
] came from; they were an attempt to bring about drawing through transparency—in other words, to avoid back and front."
León Ferrari and Mira Schendel: Tangled Alphabets, New York: Museum of Modern Art, 2009, p. 62