black

Black has 3 stages. Empty, Fill and Limits. The first stage begins with a white canvas, a “Vació”. If we click on this void we will see how squares and rectangles of different measurements and sizes begin to appear. That is when the “Filling” begins. We will see that their positions do not follow a logic or pattern, but that they slowly begin to make a shape on the canvas. After a few seconds the silhouette of a square will be clearly seen, “Limits” are formed. The shapes themselves delimit their corners and edges, but not perfectly. The longer we click, the more uniform the filling will be and the more exact limits.

Technical, aesthetic and conceptual development

Two works have been taken from references mainly, “The Black Square” by Kazimir Malevich and “Computer Composition With Lines” by A. Michael Noll. 2 paintings that avoid figuration and reject any emotional value. Malevich with the work that initiates suprematism (being represented in the second stage) and Noll with a technical feat, showing that they were capable of making computers in 1964 (being represented in the second stage). The visual experience is the main thing in this work, the 3 states that are delimited when the piece is reproduced, proposing as that the main motivation when making it. Try to generate a visual that is as simple, concrete and abstract as possible. Re Interpreting it and removing as many contaminants as possible to leave the purest abstraction. In Michell’s text “Ut Pictura Theoria: abstract painting and language” in Image Theory”, he presents intuition and the effect of the first sight as a fundamental part of the effect of abstraction. The forms are captured instantly and intuitively when viewing them, in contrast to traditional art that always involves an act of reading that does not occur at the first moment we see it. The white void, the small shapes and the square that is formed, are read intuitively . There is no need for a prior explanation to understand what you are going to see and that is something that as an artist I feel we must always remember: We must not get carried away by the self-boycott of “This doesn’t have enough depth”, “It’s not that original”; “It lacks meaning”, etc. That is why the selection of Noll’s work as a base of inspiration also seems very important to me. “Computer Composition With Lines” is an interpretation (not to say replica) extremely similar to Piet Mondrian’s painting, “Composition With Lines”, adding the “computer” at the beginning since it is that work interpreted by a computer, giving it a completely different meaning than the original work. This is also why the works that have been taken as a reference have a very notable pregnancy, following the path paved by Noll. It doesn’t seem to me that for a work to be moving, engaging or simply attractive to the eye, it has to be original or have a unanimously deep meaning. I think that’s where the game lies, synthesizing the essences of what inspires us and turning it into part of our language when creating. Jose Luis Brea explains it in his text, the activity itself is where all of this is found. The situations/works/people to which we have been exposed are fused in our works. “Black” was also created from that premise: from the interpretation I took of the works, my research on the selected works, the sensations they have generated in me and, ultimately, my aesthetic criteria, my experiences creating and the objectives I sought to fulfill with this work.

Testing some modification as a collaborator.

Literature

W.J.T. Mitchell (1996) – “Ut pictura theoria: la pintura abstracta y el lenguaje” en Teoría de la imagen

BREA, José Luis-LSA47. (2008). Redefinición de las prácticas artísticas s21