qr for me

This artistic production is inspired by works by Lillian Schwartz in her works “Pixellation” (1970), a pioneer of electronic art. Primitive figures predominate such as square and the rectangle in a gray scale simulating a “qr code” that when clicked, the squares located in the center begin to rotate in opposite directions simulating a small machine. As a complement, by pressing the right or left click we can learn more information on the canvas thanks to a random allowing us to design our own qr by drawing with squares and rectangles of different sizes uniquely in each reproduction.

Technical, aesthetic and conceptual development

This production led me to understand that most of the time there is a distance between the initial conception and the final product. It started as an abstract drawing of static squares that later acquired movement and together ended up generating in me an “idea of Qr”. I remember how surprised I was when I scanned one for the first time. I thought how close people immersed in a capitalist system are to being a set of bars and numbers that store a lot of information. This led me to ask myself, why not have the spectators interact with the work by simulating the QR code that you would like to be? with which they feel most identified. One that goes beyond black and white, that has different nuances and compositions.

Nathalie Heinich in “the work beyond the object” suggests that contemporary art consists of projecting works of art beyond the object and This dissolution between work-object occurs through a series of specific operations typical of the paradigm of contemporary art of which Two seemed interesting to me to highlight and develop:

On the one hand, the dematerialization operation “the report” where the author states that

…“the object is just a pretext, at most an activator, which will induce actions, words, operations, reconfigurations of space …and the work is in that set of things… far from being reduced to the material limits of the object, it can be enriched by the comments, interpretations, imitations and even by all the acts of vandalism that can provoke”…

Although my work has an algorithmic structure and embodies an idea, it only works and is complete if the viewer interacts with it. Its dynamism and composition will depend on who interact and how he does it and it can cause different reactions in him that also affect the work. On the other hand, the conceptualization operation “the idea”. Heinich quotes Nadia Walravens

…“the idea is the work and is claimed as such by the artists”…

The almost poetic idea of being able to build something of our own and at the same time so everyday for us Like a code, it is present in the work and is accompanied by a brief description or a series of instructions to follow so that the viewer understands what the intention is.

Instructions to interact:

1. press “Enter” to see the initial structure
2. press the “left” or “right” mouse button to draw
3. draw as you wish

Literature

Bibliografía HEINICH, Nathalie. (2014). “La obra más allá del objeto”