The cross appears in Tàpies's work in numerous variations: whether as an essential image motif, compositional design principle or casual sign. It may have equal sides or a t-shape, appear as an inclined version or in the shape of an x. As varied as the design of the cross is, as complex is its meaning. In Tàpies's works, the cross is not only a reference to the first letter of his surname and thus an expression of his artistic identity and authorship, but it is also to be understood in the context of Christian iconography and the Passion of Christ although Tàpies, who had a strictly religious upbringing, distanced himself from the practices of the Catholic Church at an early age. Rather, he saw himself connected to mysticism "in order to advance to knowledge that cannot be attained by any other means" (Catoir 1997, p. 89). The medieval mystic and philosopher Ramon Llull, to whom Tàpies often referred, recognised the cross as the only true and meaningful artistic subject.
