Tomas Saraceno's piece entitled 'galaxies forming along filaments, like droplets along the strands of a spider's web' is a unique linear sculpture that peaked my interest at the Venice Biennale. Upon entering the space viewers are confronted with a room of black elastic bands in somewhat chaotic order. Two line thicknesses comprise a drawing against stark white walls, ceiling and floor. Large eyehooks hold the tension of lines that create complex geometric patterns. The imperfect shapes that are created bring the sculpture into a sense of dynamic motion. Spectators are encouraged to enter the space and interact with the installation, but only to certain point. The viewer may pluck the strings lightly and walk through the space, but are not allowed to attempt to climb into its great height or pull excessively on the linear bands. As one traverses the space a sense of play is overwhelming. Interaction questions the role of architecture and functionality within an interior setting.
A second linear work located in the first room of the arsenale by Brazilian artist Lygia Pape entitled 'tteia I, C' also had several intriguing qualities. The viewer enters a dark lit room and centrally located is a large rectangular space with rectilinear columns comprised of gold thread that stretch from ground to ceiling at different angles. Unlike Saraceno’s piece this one does not allow for physical interaction. There is a distancing from the sculpture forcing the piece to become solely a visual experience. The act of looking at this piece elicits some beautiful responses. As the viewer moves around the sculpture, shifts in light transcend and descend the gold columns. It is these subtle nuances of light in relation to viewer movement that make this an intriguing visual experience. 
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