Minimal Cat

A Zen-inspired sumi-e unicursal brushstroke that gently evokes the silhouette of a sleeping cat.

sumi-e zen cat

A single brushstroke, almost nothing… and yet the mind completes the rest.
This Zen-inspired sumi-e line suggests the presence of a sleeping cat, as the brain instinctively searches for form, balance, memory, and meaning within this minimal stroke. A curve becomes a back, a pause becomes a head, and empty space turns into stillness—peace, quietude itself. Strangely, this allegorical curve echoes the Japanese symbol ensō (; “circular form”), often drawn in calligraphy as a gesture that holds completeness and imperfection in the same breath.

Minimal drawing works because perception is never passive. We do not simply “see” the world; we continuously reconstruct it from fragments. A few essential marks are enough for the imagination to awaken and project life into absence. The unfinished image invites the viewer to participate in its creation.

This is one of the quiet powers of strict minimalism: removing detail does not always diminish reality — sometimes it amplifies it. In sumi-e, what is omitted matters as much as what is painted. The void is not empty; it breathes. Perhaps that is why a simple unicursal stroke can feel strangely alive.

Art begins precisely there: at the threshold where perception, imagination, and silence meet.

Unveiling the Ancient Unicursal Labyrinth

Ancient labyrinths, known as unicursal, were also referred to as “Cretan” labyrinths, drawing from their roots in Greek mythology. In Great Britain, similar turf mazes based on the same pattern are called ‘caerdroia‘—a Welsh term meaning “City of Troy.” These mazes can still be found in a few remote villages and rural hamlets.

They were typically built around a central core—often shaped like a cross resembling a ‘gammadion’. With the help of the diagrams below, you’ll find it quite straightforward to construct one yourself.

(There are two main historical variations of the Cretan labyrinth, as you can see in Figures. A and B.)

The image is taken from my article “Parcours et détours,” originally published in the French journal MathÉcole.

You can read the full piece here (in French).