Described by The Guardian as a “rising star” on the German art scene, German artist Jorinde Voigt (born 1977) has been steadily developing a semiotic system in her drawings that interweaves subjectivity and systematics, spontaneity and meticulousness, chaos and order, poetry and science. Through her philosophical drawing process she attempts to reveal complex phenomena from our environment and culture in visual compositions founded upon certain parameters. The starting point for Voigt’s current series of works, Ludwig van Beethoven, Sonate 1–32, comprises the musical scores for the cycle of piano sonatas that Beethoven composed in the late 18th and early 19th centuries, which has been called the “New Testament of music.” Here, the artist does not strive to illustrate or interpret the music; rather, she was more concerned with researching perception and “developing a way of writing that extracts the emotional spectrum inscribed in Beethoven’s scores”—in other words, to survey the invisible.