Of all the connections between the various arts, the one between architecture and music is the closest. Both have to do with gradation, proportion, rhythm. Both operate within spaces – be they physical, in which everyday life takes place, or acoustic, which merge into the mental realms of imagination and recollection. And neither of them can be ignored. A painting vanishes once our eyes are closed, but neither the ears can be closed nor our sense of touch suspended.

Carola Bark is a visual artist, but her works give the impression that she could just as easily have become an architect or a musician. So precise is her artistic equipment – simply put, the right-angled intersection of two straight lines – that it can be applied to a wide variety of objects and situations. Her Visual Scores form the basis of her artistic investigations, and since late 1999 a collection of small-format drawings and collages has expanded to include over a hundred.

Bark exhibited part of this collection, somewhat as if she were taking a deep breath, before embarking on an entirely different exploration in 2001 with the project The Spatial Resonance of Visual Scores. Here she quite effortlessly broke the boundaries of drawing and marked out architectural details such as wall hatches, stairwells or building-site material with charcoal or adhesive tape. These untitled, ephemeral interventions into deliberately chosen out-of-the-way places have a direct relationship to the numbered wall objects in which her researches are, as it were, condensed.

Both areas of investigation reveal an artistic range that is immediately able to cause its surroundings, whatever they may be, to resonate. The doors are open wide.