Matemática Sensible

Mathematics is everywhere, I was taught by great nerds like Peter Parker and Robert Langdon. With his cinematographic works and a lot of introspection, I learned that art is the thread that unites the world. Self-perceived as a great nerd with infinite artistic passion, I produced flowers with Fibonacci curves. Mathematics embraces the rational, art merges with sensitivity, I dilute myself in both. In a pleasant consequence, this work represents the great sensitive mathematics that constitutes my internal fire, my vital flame.

Technical, aesthetic and conceptual development

This is all summarized in three gray scales: morning, afternoon, night; which consist of white-black, light gray-dark gray and black-white ambivalences respectively. It also has two types of figures: “natural” and “raw”. Both figures are constituted with a petal that is iterated based on the Fibonacci number.

In my work, a nod is made to the current social demands of constant production in quantity through a succession of aesthetic compositions that are presented for a short time on the screen and are impossible to recreate again, simulating a false montage in which the various parts of other machinery - the code blocks - are synthesized in a new machine that produces random compositions. The images, especially the raw ones, try to offer that aspect of the real captured in its objective integrity. At the same time, its natural character seeks to abolish the supremacy and visual euphoria of art through an art of thought, making use of figures that emulate three-dimensionality.

Likewise, my ideas flowed to a greater extent around the mathematical-artistic craft and the connection with nature of Ben Laposky. However, I also made use of the symmetrical imprint of Herbert Franke and the sensations of disturbance of figures that the works of Georg Nees emit.

I must note that I made the assessments from that virtual class where phrases like “it looks like a wallpaper” are mentioned repeatedly. In this way, I associated my wallpaper with flowers, which I later, thanks to the media and The Da Vinci Code, associated with the golden ratios that occur on various roses and sunflowers. Investigating a little more, with the help of Spider-man, I managed to find the precious Fibonacci number that made me create these figures mathematically, where the originality of the flower is disturbed, achieving such visual results.

Brea explains that 20th century art arises from immanent self-criticism, and that art is formed by walking on the limits of our capabilities. It also mentions that our work is our product and it constitutes us. The essential thing about my work is not its appearance at the moment it exists. The flame here is housed in the effect of its potential variations, which are, after all, a reflection of my potential, my flame, built from my expanded capabilities. I do not seek to represent flowers or geometry, but I project both things and present them to the world, I produce flowers, I produce geometry.

Literature

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas”. SIMÓ MULET, Toni. (2004). “Los lenguajes visuales de la modernidad collage, assemblage y montaje”.