Sin título

The blank canvas paralyzes me and almost like a reflex I prepare to fill it. Curved and straight lines begin to overwhelm it, they intersect, change direction and leave the plane. The random drawing that I accidentally drew does not matter, but the relief that the plane is no longer empty. Once again I find myself with a blank page and I begin to write.

Technical, aesthetic and conceptual development

I started with the works of Georg Ness and Michael Noll. Without going beyond his works, I perceived the random strokes as a primary gesture, filling the void with lines like a scribble gave me the opportunity to start. Freehand I drew lines without thinking, then I would translate them one by one in processing, thus losing their random quality. This literal translation of the curves allowed me to reach a more organic result, which I had set out to achieve. Unlike my references, I wanted the line to be more gestural and not so geometric, adding to my intention to escape the lines outside the plane. Once I get the desired image, I wonder what’s next. It could be a static image and that’s it, or it could become something else.

Then I divided the plane into 9 sectors, through each one a set of lines passes. Configure the code based on this sharding. The static image became once again a white plane where, depending on the coordinates of the cursor, the user draws and blurs the image. That is, to visualize it, one must unconsciously imitate the same gestural and random action of the scribble.

On a trip across the North Sea, Rossalind Krauss questions the use of the word “medium” due to its ideological, dogmatic and discursive load, the term “automatism” is proposed (finally the author returns to the use of the first word). In their definitions I was able to link issues from my work. He mentions that for surrealists the term implies two things. First they define it as an unconscious reflex, which I directly associate with the first action I took when doing the work, scratching a smooth surface almost like a first encounter between children and drawing. While the action is conscious, the product of that action is not. He then adds that the word connotes a possible autonomy of the work, “the freedom of the resulting work from the person who produced it.”

The latter applies to all artistic practices. Finally, it does not matter my intention to fill the void and that it is emptied and the cycle is repeated, each user will interpret the work in a different way. In The Medium is the Message, Mcluhan quotes C. G. Jung: “It can be perceived that our human senses, of which the media are extensions, are also fixed costs for our personal energies and which, furthermore, shape our consciousness and experiences.” The code becomes a means, an extension of my desire to cover the void.