Outsider art.

In 1919, the German psychiatrist and art historian Hans Prinzhorn introduced painting as a therapy among his patients at Heidelberg University Hospital, thus setting the precedent that would lead to what Jean Dubuffet in 1945 called - Art Brut.
Fascinated by the power and truth contained in the works of these beings separated from society.

Dubuffet dedicated himself to collecting and exhibiting them for the rest of his life, bequeathing a significant number of works to the Collection de l'Art Brut (Ville de Lausanne).

Among these artists were mentally ill, but also prisoners, children, self-taught.
Robert Gie was a carpenter before he was hospitalized in a psychiatric institution at Rosegg from 1908 to 1922 due to hallucinatory disorders.

From 1916 on, becoming increasingly reclusive, he devoted himself feverishly to drawing on walls or on bits of paper he manages to salvage.

His drawings are characterized by complex networks of cables that penetrate the figures, crossing through them and extending into others – an imaginary "influencing machine" that he believed controlled their movements.

Gie’s figures are surrounded by waves and currents, which are often depicted penetrating the sensitive areas of their feet, palms and palates.

Gie often wore a handkerchief over his face to prevent these emanations from entering him while he worked.

These drawings are reminiscent of electroshock treatments used as therapy in psychiatric centers.

The human nervous system becomes part of wider networks of interconnections, being subsumed into a mechanical whole by the general set of production.
All the characters are connected by these flows, which in turn connect to others in endless extensions.

The organism is subject to the only organization given it by its desirable nature; it cannot leave it. Each organ is a machine that channels its flow to another machine that enters into a process where the only thing produced is production itself: schizo-nature.