Adición

”Addition”, as its name indicates, seeks for the viewer to add elements and interact with the environment in order to find, through different shapes, textures and movements, a journey through their own creativity, with the final work being defined by the decisions they make when manipulating it. As the main and immutable element, there is a figurative representation of a computer. Instructions for handling the work are detailed in the code within it.

Technical, aesthetic and conceptual development

”Addition” is mainly composed of geometric shapes such as rectangles and circles, their sizes and monochromatic colors being manipulated by different mathematical functions directed by the user, who decides at what time and form the components of the work are transformed, appear or disappear. I relate this to a fragment of the text “The conquest of ubiquity” by Paul Valéry, in which he expresses that the works are going to acquire a kind of ubiquity. Their immediate presence or their return at any time will respond to a call from us, in this case, the participant is the viewer of the work. José Luis Brea, in his text “Redefinition of artistic practices (s. 21)” expresses that there are no longer “artists” or “authors” as such, but rather people who produce. And the artist as a producer is a generator of narratives of mutual knowledge, a creator of mediations for their exchange in the public sphere, in turn, the work itself or the product resulting from it is actually what produces ourselves. This idea is directly related to giving the viewer a level of co-authorship or participation and intervention in a pre-existing work. The main influence I had for this realization were the works of one of the pioneers of digital art Lillian F. Schwartz, especially her films, where the illusion of 3 dimensions is achieved through a combination of mathematics and physics to take the viewer through a new range of visual dynamics. The illusion is enhanced by the movement of objects through space so that they are covered and uncovered in encounters with other objects. For certain scenarios of the work I was inspired by works by Victor Vasarely, pioneer of Op-art or optical art, which will generate a different perception of it in each viewer. The choice of black and white on a monochromatic scale creates an effect of depth, with the dominant color being the one that differs the most from the background. It is worth highlighting the inclusion of the representation of a computer in the center of the work, representing the new technologies that allowed us to expand the limits of artistic production. “We must hope that such great innovations will transform the entire technique of the arts and in this way act on the process of invention itself, perhaps prodigiously modifying the very idea of ​​art.” - Valéry, Paul. The conquest of ubiquity (1928).

Literature

VALÉRY, Paul. ([1960], 1999). “La conquista de la ubicuidad (1928).” En Piezas sobre arte. Madrid: Visor, pp.131-133.

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)”. en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC, pp. 106-113.