Vuelo Metamórfico
The work is captured on a 512x512 pixel canvas. I used 2D primitive figures such as lines, points, circles, ellipses, arcs, Bézier Curves, triangles, among others, with different levels of thickness and size. For the color of the elements I used an 8-bit grayscale.
The shapes used in this sketch come together and create a static image in which you can see a black ground with a dandelion flower whose pappes (little hairs that contain the seeds) “fly” towards the upper right corner. As they rise they are transfigured until they become a black bird that flies over the composition.
Technical, aesthetic and conceptual development
To carry out the work I based myself on the works “Hummingbird”, “Aging Process (Young to Old)” by Charles Csuri and “Mujer con Mariposas” by Antonio Berni (for an exhibition of Art and Cybernetics, in which Luis Fernando Benedit, Eduardo Mac Entyre, Osvaldo Romberg and Miguel Ángel Vidal, Ernesto Deira, Humberto Demarco, Gregorio Dujovny, Mario Mariño, Rogelio Polesello, Isaias also participated Nougues, Josefina Robirosa and Norma Tamburini. For this exhibition, a group was formed in Buenos Aires in March 1969 by Jorge Glusberg, founding director of the Center for Art and Communication (CAYC), after contacting the Computer Technick Group of Japan. The objective was to provide a space for artistic experimentation with computers within the field of cybernetic art.
In the works of the authors who inspired me to create my own, you can see that the figures that appear there undergo a metamorphosis until they become something new. I believe that this transformation not only has a reading at first glance, but it can also be thought of as a transfer of art beyond the physical/analog support to a digital medium, which generates a transgression in the artistic medium, to what is established and mounting it on a support that, at that time, was not intended for that purpose. In both art and technology there are constant modifications that are generated, molded and updated in pursuit of the environment and reality in which we live. In the words of Paul Valery “(…) In every art there is a physical part that cannot be contemplated or treated as in the past, that cannot be escaped from the enterprises of modern knowledge and power.
Neither matter, nor space, nor time are twenty years ago what they were forever. We must hope that such great innovations will transform the entire technique of the Arts and in this way act on the process of invention itself, perhaps prodigiously modifying the very idea of art. (…)”. What Valery raises is the ubiquity of art in direct relation to the context and time in which it is situated.
The current media with which we operate makes art omnipresent. In this sense, the techniques, procedures and languages of this new context easily transmit the contents of multiple artistic disciplines such as music, film, plastic arts, photography, dance, literature, etc. With just the simple act of moving and touching the mouse. At the same time, the fact that these new media such as the web (which as time goes by also advances to new stages), and its supporting devices (such as Smartphone, computers, Tablet) that did not exist previously, make art accessible to everyone equally. This ease of replicating and transmitting art on a massive scale is functional to capitalism. This is clearly explained by José Luis Brea in his text “Redefinition of artistic practices”, in which it is postulated that art no longer functions in a conservative and static way to which few had access, but that currently art is in constant reinvention and movement appropriate to contemporaneity, and that the artist is not separated from society as it was made to believe, but is part of it, there are not 2 separate worlds. Furthermore, the concept of artist and authors as such is left aside, but rather they have to be thought of as producers, they are produced and produced in the cultural market. Thanks to this, producers of cultural capital can currently expand to higher levels.