02132nas a2200313 4500000000100000000000100001008004100002653001900043653001300062653003400075653002500109653003300134653002700167653002300194653002100217653000900238653001800247653002200265653002600287653001500313653001600328100001700344700002900361245004400390856015000434490000700584520120700591022002001798 d10aArts computing10aFractals10aIntangible cultural heritages10aIntriguing questions10aMultifractal characteristics10aMultifractal structure10aNatural landscapes10aRandom processes10aSand10aSand Drawings10aSelf-similarities10aStructural complexity10aVisual Art10aVisual Arts1 aR. Moctezuma1 aJorge Gonzalez-Gutierrez00aMultifractal structure in sand drawings uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85079012653&doi=10.1142%2fS0218348X20500048&partnerID=40&md5=e3d5da293ef87d928b2a049b1d1412e90 v283 aThe construction of an abstract expressionist artwork is driven by chaotic mechanisms that sculpt multifractal characteristics. Jackson Pollock s paintings, for example, arise due to the random process of depositing drops and jets of paint on a canvas. However, most of the paintings and drawings try to recreate with fidelity common forms, natural landscapes, and the human figure. Accordingly, in the context of the formation of statistically self-similar objects, a question persists: will it be possible to find some vestige of multifractal structure in drawings or paintings whose elaboration process tries to avoid chaos? In this work, we scrutinize into several artistic drawings in sand to answer this intriguing question. These pieces of art are elaborated using craters, furrows, and sand piles; and some of them are inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. We prove that the sand drawings analyzed here are multifractal objects. This finding suggests that a piece of visual art, which may initially appear ordered, contains many components distributed at different degrees of self-similarity that substantially increase the structural complexity. a0218348X (ISSN)