Advent Molnar

Advent Molnar is a work inspired by the generative art produced by Vera Molnar such as ¨Carambolage rouge¨ (2016), ¨Dialog Between Emotion and Method¨ (1986) and some of her more minimalist works. It consists of 25 squares, divided into 5 rows by five lines and each line has different geometric shapes contained within squares that, when you slide the mouse over it, change tones between white, gray and black, generating in a moment a kind of optical illusion. The name of the work refers to the artist who inspired it and, due to how the squares are distributed and their quantity, to an advent calendar.

Technical, aesthetic and conceptual development

This piece is based on the use of geometric shapes like those used by Vera Molnar in her works and, in part, on my daily reality, my association of images with others. When I decided to make the squares 5x5, I didn’t associate it with an advent calendar and it wasn’t until I saw each line that it came to mind. Citing Toni Simò Mulet in ¨The visual languages of modernity collage, assemblage and montage.¨ (2004), where he develops on the assemblage ¨one of the functions of the assemblage is this subversion of the established signs and symbols, the arrest of reality in a strange and poetic form seeking the rapprochement between the work and the viewer¨, I consider that I took some of the symbols and signs of the works by Vera Molnar to mean something different to me, obviously subjectively, but which also invites the viewer to see the work in a way similar to how I wanted to resignify it.

Obviously my analysis is very subjective but I think it would also bring the viewer closer if they read the title, who in this case would become a participant due to the interactive nature of the work, what the word “advent” means for example or who “Molnar” is. It could also be said then that to a very small extent there is a bit of conceptual art in my development of work, because without the history that supports it it could simply be interpreted as “25 squares and geometric shapes”.

Likewise, the distribution of different shapes, within squares of equal size, especially when the cursor slides and the tones change, are allegorical to the object modality called accumulation. Taking into account the description of Simon Marchan Fiz en.¨ The collage principle and object art¨ (1994), which says that ¨… the objects of use of the same or different nature are piled up in a relief arrangement or are collected in drawers and plexiglass chests¨, the squares can be interpreted as the drawers and what they have ¨inside¨ as those objects of the same nature that would be the different shapes inspired by Molnar’s works.