El Despertar
My work tries to express what I feel when seeing a work that changes my being, and manages to make me aware of issues that I did not know I was unaware of. My work has two phases, the one before clicking called “Living Dead”, that is, that version of the viewer before the impact of a work. While the clicking phase is called “The Encounter”, since the representation of the viewer opened his eyes and contemplated the work of art, which entered into his being immediately.
If we go to the right by pressing the mouse we can see through the viewer’s vision (referring to the moving lines) that painting - that is, a work of art - that is entering the very being of the represented spectator (that is why the blinking of the painting and in the character’s eyes occurs as a reflection). On the other hand, if we go to the left, a transcendental plane of the spectator’s gaze is represented through an eye, in this way the black circle of the eye that grows and decreases refers to the dilated pupils that reveal the overflow of emotions that the encounter is generating.
Technical, aesthetic and conceptual development
The inspiration and idea that I acquired to create my work that exposes the encounter of the subject with art, was based on two authors who are: Brea, Jose Luis in Redefinition of artistic practices that describes the encounter between the person and art as a clash, that is, a clinamen, where the spiritual being of the observer and the work is known, causing something spectacular in the mind of the aforementioned that we could call an awakening.
Bürger, Peter in The Avant-garde Work of Art mentions “The attention of the work is no longer directed to a sense that can be grasped in the reading of its parts but to the beginning of its construction.” This gave me the idea to think that those sensations that works of art give us through encounter are caused by an enigma made up of its signs that makes the work attractive and not a simple product of materiality. Therefore, having a work of art in front of us can unbalance our reality, generating different types of sensations, being a magical and unrepeatable moment in the same work. Through my work, I try to represent the situation that the viewer experiences when encountering a work of art that returns consciousness like a discharge of electroshock.
The shape of the viewer’s face, which resembles a mannequin, is referring to an aesthetic that was used in the surrealist and dadaist artistic movements for the representation of mechanized human beings. A clear example is the Dadaist painting “Republican Automatons” by George Grosz, who represents these mannequin figures as automatons, puppets that allowed the rise of National Socialism in Germany. Giorgio de Chirico also represented humans as mannequins in surrealist paintings such as “The Disquieting Muses”. For my part, I use the characteristic of the face in the form of a mannequin to represent the social individual - which could be any of us - who is inevitably saturated with molded and simple merchandise when consuming art, that is, he is trapped in the neoliberal system.
Also the representation of the levitating eye is surreal because it describes a transcendence of the act of observing a work of art.
My work tries to express what I feel when seeing a work that changes my being, and manages to make me aware of issues that I did not know I was unaware of. My work has two phases, the one before clicking called “Living Dead”, that is, that version of the viewer before the impact of a work. While the clicking phase is called “The Encounter”, since the representation of the viewer opened his eyes and contemplated the work of art, which entered into his being immediately.
If we go to the right by pressing the mouse we can see through the viewer’s vision (referring to the moving lines) that painting - that is, a work of art - that is entering the very being of the represented spectator (that is why the blinking of the painting and in the character’s eyes occurs as a reflection). On the other hand, if we go to the left, a transcendental plane of the spectator’s gaze is represented through an eye, in this way the black circle of the eye that grows and decreases refers to the dilated pupils that reveal the overflow of emotions that the encounter is generating.