Más allá de los portales

In my design I show a pattern based on natural shapes, stripes and curves (spiral shape), the composition is dominated by flat geometric shapes and it could be said that I am inspired by cubism and futurism.

Technical, aesthetic and conceptual development

This work has been humbly based in a simple and simple way on the productions of electronic abstractions designs developed by Ben Laposky, where he worked on photography layouts with pendulums, in which curves govern, giving rise to decorative designs. He used a cathode ray oscilloscope with sine wave generators and various other electrical and electronic circuits to create abstract art which he called “electrical compositions.”

Taking into account Jorge Luis Brea’s text, I understand my work as an artistic practice that uses technology and virtuality, and although it is not considered a work of art, it gives the possibility of developing new appreciations and seeking new categories of realization, beyond painting and sculpture.

In a certain way my practice, as an artistic expression, defends the unity of art and life and goes against the commercial conception of the work of art, giving breadth to the conceptuality and richness of the new media that are incorporated to develop an artistic practice. By carrying out this type of artistic work, I allowed myself to experiment with the sensations and reflections that can be generated in me when observing it. The viewer’s view is located in a terrain that leads him to reflect on this experience, an enigmatic character of the work that challenges us, triggering a display of sensations that can come from both the work and the viewer.

Here a perspective opens in relation to electronic art, in the sense that these productions can be thought of as works in progress, being in perpetual configuration and depending on many occasions on the actions of the viewer, in relation to the dynamic process that occurs between viewer and work.

According to the concepts presented by Paul Valery about ubiquity, this type of practice in front of a screen has the potential capacity to be everywhere at the same time and generate artistic production outside of galleries and museums, under massive reproduction and dissemination. That definition of ubiquity leads me to my work since I see how the spiral opens a door to a new dimension, a portal which can take us to different places.

In conclusion, as I mentioned previously, this type of practice awakens different sensations in the viewer, granting free will regarding the sensation it produces to the other.