How do the lines of the shoelaces add to the composition of the painting?

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Explanation:

The shoe on the left on the other hand is shown tall and straight, with tight laces and shiny hooks to hold the laces firmly in place – showing more wealth than the other shoe. The shoelaces on the boots are untied and weaved into mismatched holes.

There is another line, another system of detaching traits: this is the work qua picture in its frame. The frame makes a work of supplementary désœuvrement. It cuts out but also sews back together. By an invisible lace which pierces the canvas (as the pointure ‘pierces the paper’), passes into it then out of it in order to sew it back onto its milieu, onto its internal and external worlds. From then on, if these shoes are no longer useful, it is of course because they are detached from bare feet and from their subject of reattachment (their owner, usual holder, the one who wears them and whom they bear). It is also because they are painted: within the limits of a picture, but limits that have to be thought in laces. Hors-d’œuvre  : the laces go through the eyelets (which also go in pairs) and pass on to the invisible side. And when they come back from it, do they emerge from the other side of the leather or the other side of the canvas? The punture of their iron point, through the metal-edged eyelets, pierces the leather and the canvas simultaneously.

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