Festividad

To develop this work I was inspired by the works of Ben F. Laposky, created in the oscillator.

What seemed most interesting about these works is the sensation of movement that the abstract figure gives. From that concept of “perception of movement” I began to work on the work. Take a line as a starting point, to generate a movement whose instant is recorded over time on the canvas, and to that movement I declare cycles that were manipulated to create an abstract figure that even in its static gives that sensation that it moves. In each cycle the size of the line, the speed of travel and movement of the line vary. Also by clicking anywhere on the canvas, the cycle is changed and the user can manipulate the work however they want. I named it “Festivity” because it gives me the sensation of moving fabrics that, in their structure, remind me of the extravagant costumes used in some town’s festivities.

Technical, aesthetic and conceptual development

I find it very interesting to highlight that beyond the multiple differences that I have with the reference artist (in terms of resources, time, etc.) I find a common point in the execution of the work. We both, despite the difference in media, take a technological artifact and manipulate its execution to achieve an artistic result. At this point is where I make a parallel with object art and the principle of collage referred to in Simon Marchán Fiz’s text (The principle of Collagge and object art 1994), where the object is stripped of its identity as such and its meaning is converted into allegory. In the case of my work, the object is a line whose meaning in itself is just a line, but taking the concept of Object Art where the artistic process is “supported by the selective, playful, free and reflective relationship to the world of our artificial reality” I appropriate that line, give it an artistic articulation and multiply them, transforming that matter into an abstract figure. The meaning of that line is no longer the same, but is part of the construction of a figure where the recipient of the work makes a reading subordinated to his experiences and makes a random return to it. In my opinion, what is random in object art is in the meaning given to the work. It is also, in this union with Laposky, where the concept begins to take center stage, in particular what is relevant about the work is not the work itself, but the execution of it (in this case its medium) is what personally gives the meaning and concept to the work.

It is in this meaning, that I find the medium of execution of my work, that I inevitably bring to my mind the text of José Luis Brea (Redefinition of artistic practices) where he states that artists as such no longer exist, and that there are producers (people like us), creators of artistic practices. This new definition of artist as producer and work as artist practitioner is born from technological advances for the generation of these practices. These new practices that go hand in hand with avant-garde movements that question the art institution and its forms of representation that no longer see the work as a commodity, but rather, returning to the text of Simon Marchán Fiz, “art is the revolution of the spiritual, the act and provocation of individual liberation” and it is in the concept and immaterialization that art finds its value. The rereading of the texts was essential to finish defining the concept and aesthetics of the work since, without them, the work would be a mere figure that moves, but with a concept, its value grows and is enriched in its allegorical meaning.