Para Vera

For Vera, it was born from immersing myself in the work of Vera Molnár, specifically from the encounter I had with her Structures de quadrilatères (1986). A production so violent and scandalous that it made me want to turn it upside down. Do the opposite, make it serious and calm.

For Vera he proposes two moments. Interact using the mouse to set the parallel lines in the center of the work in motion, maintaining the chaos of Molnár’s work but this time camouflaged.

The second moment proposes contemplation, the white rectangles that are distributed in the foreground are in a constant and almost imperceptible movement.

Technical, aesthetic and conceptual development

For Vera it is born from experimentation. The beginning was clear, I saw Molnár’s work and it impacted me so much that there was no doubt about what I wanted to achieve. Literally do the opposite, hopefully generating the feeling of stability, of seriousness, of a solid structure. At least at first glance.

The work is structured in two layers. In the first I present white rectangles distributed throughout the black, which at an initial glance may seem static, however they have an almost imperceptible constant movement that contrasts with the frenetic movement of Structures de quadrilatères.

In the second layer are the vertical lines. These elements are the first ones I put on the canvas, using the p5.js random function. When you move with the mouse over them, they move at an accelerated rate. At first I was not convinced to move forward with these elements because it deviated from my idea of ​​calm, but as I progressed, the work took shape and it seemed right that they existed. I feel that with the lines I maintain the spirit of movement of Molnár’s squares in a non-explicit way.

As for color, I decided to work with black and white, not use any intermediate. This generated a conflict for me at the beginning, as with the movements of the vertical lines, I felt that so much white space disturbed me. As time passed and I kept my eyes on the work, this feeling transformed and these spaces absorbed and sheltered me. I maintain the desire that viewers experience it in a similar way.

The texts appear at the end of the total process, in the reflection instance. 1. Jose Luis Brea expresses “in 21st century societies, art will not be exhibited, it will be produced and distributed, it will be disseminated.” (Redefinition of the artistic arts (s.21)) There is not much to say about it, this is a fact. My work, and the works of my colleagues, through a web link has the capacity to be distributed at a viral level if desired. 2. The Conquest of Ubiquity (1928) by Paul Valery, makes me think about how my work reaches the viewer. Textual quote- “a Titian who is in Madrid has not yet come to be painted on the wall of our room with the same force and verisimilitude with which we receive a symphony.” At this moment in history I have the possibility of sending my work to anyone through technology. Visual art has the potential to be ubiquitous, to be here and there. Both texts lead me to be excited by the multiple possibilities that exist for artistic creation. We have technology within reach that brings us closer and mixes and unites us to create and evolve together. For me it is cause for celebration.