turn on the bright lights

This work does not have as its main objective interactivity with the user through peripherals such as the mouse and/or keyboard. However, it does seek interactivity purely through the eyes, communicating with the screen used to view the work. It should be noted that this is subject to each individual and that the proposed interactivity can be achieved (or not) at different levels depending on each person.

The viewer is invited to blur their vision, thus having the possibility of converting an apparently simple effect into a much more interesting illusion (depending on the viewer), generating a vision beyond the work.

The idea is that there is no limit, or, if there is one, that it is not imposed by the artist, but rather set by oneself. It is little (or not at all) important to decipher what is really happening, and the important thing is to simply let yourself go.

There is also the possibility of seeing an alternative version of the work. When we left click, its colors are inverted, thus generating a new perspective from which to view it.

Technical, aesthetic and conceptual development

The effect sought in the work is created from the concepts presented in the texts “The work beyond the object” by Nathalie Heinich and “Redefinition of artistic practices” by José Luis Brea. Combining Brea’s idea that there is no artist per se, but that one produces and that same production produces us, with Heinich’s that the work does not have that limitation presented by an object and that that object itself is not necessarily what contains the work.

In this case, moreover, it is the viewer who interprets it and creates a connection with it, no matter how simple it may be.

Expanding on the aforementioned phrase “one produces and that same production produces us” and translating it to this particular case, I feel that the work produced and presented here was itself indicating to me how to progress, producing - at a certain point - on its own, with me being a mere interpreter of what the work required. To be more specific and understandable, in the second half of the production of the work what I did most was remove functions and figures, which at some point for some reason I considered necessary, but as the work itself matured I realized that some things were extra and that it itself indicated to me that they were left over, leaving (in my opinion at least) a more sober and understandable work and at the same time having a greater opportunity to interpret it as one wishes and not be so aware of the ways in which it could interact and change. things.

As for visual references, the main one was the work “City Painting” by Grace Hertlein; great inspiration for this realization. Without that reference the work would most likely be completely different, lacking a “main” figure on which to base the different movements.

To conclude, the last reference was the work “ZAHN2VAR1” by Herbert Franke, which helped me a lot to define how I was going to create what could be understood as the “background” of the work. Although Franke’s original is more complex and in color, I took what I saw as central and expressed it in the simplest way possible.

Literature

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

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas”.

Referencias

HERTLEIN, Grace. “City Painting”

FRANKE, Herbert. “ZAHN2VAR1”