Ruido
The work consists of the superposition of a square with different gray values, which when placed randomly within the plane, shows us texture variations worked mainly in frequency. Through an interaction with an external device (mouse/mouse), the author allows us to pause, take a breath and see again how his work is regenerated.
Technical, aesthetic and conceptual development
For the realization of this work, my artistic reference was Vera Molnár (1924, Hungary), who is considered a pioneer of computer and generative art, as well as one of the first women to use a computer in an artistic way.
At the age of 23, Vera Molnár moved to France where she has pursued her artistic career to this day. In the 1940s and 1950s, he created non-figurative paintings, among which his first geometric drawings stand out. Only in 1968 did he begin to use a computer for his first algorithmic compositions, a technology that quickly became his favorite medium.
Observing some works of Molnár’s work such as “Small Squares” (1973), “Hypertransforsmations” (1974), “(Des)Ordres” (1974) I verified that there was a repetitive structure accompanied by a figure, the square.
To carry out my artistic production, I incorporated the square as a basic fragment. This figure is printed repeatedly, on the canvas, in a random position and with a variable gray oval.
This work is a production mediated by chance, since the final product is the result of a precise calculation of the program. The meaning that each person who observes it can give it is also random.
This concept of chance led me to perform a test. I experienced the following, I copied the link of my sketch and sent it to seven (7) people with different backgrounds and with an age range between 25 and 35 years old. I asked them if they could see the file and asked what they saw at work. They, using their devices (PC or cell phone), were able to recover the image they had made. The answers were different: construction beams, silhouettes, faces, fabrics and textures. As a result of experience and what was stated above about chance, I can conclude the following.
Noise is framed within Benjamin’s concept of allegory, since it is an avant-garde allegorical practice that admits the square as a fragment that replicates itself, breaking with its original context, generating textures and new spaces. At the same time, this work qualifies as an assembly because it points to a creation that dispenses with the traditional criteria of the organic work of art and the parts that compose it (fragment and product) are independent.
Literature
-
VALÉRY, Paul. ([1960], 1999). La conquista de la ubicuidad (1928). En Piezas sobre arte. Madrid: Visor, pp.131-133.
-
BÜRGER, Peter. ([1974], 2010). “III. La obra de arte vanguardista”, en Teoría de la vanguardia. Buenos Aires: Las Cuarenta, pp. 79-117.