Skele-tons

This work contains a black background, on which a grid of different shades of gray is formed, made by an iteration of lines generated with two for cycles. Above this grid there is a skeleton hanging from a thread, made up of several primitive figures, especially ellipses and rectangles, which varies its color (black-gray-white) depending on trigonometry. With this work I intend to address the concept of generative art and its complexity.

Technical, aesthetic and conceptual development

“Skele-tons” is a work that is born purely from an “automatic” creativity, that is, at the time of making it I did not have any type of “plan”, so to speak, but rather I preferred to let myself be carried away by experimentation and be open to ideas that were awakened as new advances appeared.

I consider generative art to be a suggestive topic, especially in my life as an artist. Before starting this career I did not have much idea about this movement, or even about technology in general, I could not have even imagined everything it means and encompasses today, nor everything that can be produced with it. Being here today, producing generative works, nourishing myself with many new works that I had no idea existed, including those of my colleagues, helps me expand my horizons and open my mind much more. That’s why I decided to refer my work to this great universe of generative possibilities.

“We can define generative art as the practice that, on the border of art-science, maximizes both scientific understanding and artistic endeavor.”

Generative artists find themselves in constant ambiguity, as they find themselves between these two separate worlds, such as: science and the humanities. Therefore, with generative art we speak of an artistic procedure characterized by complexity, understood as a cooperative system between nearby parts or agents of a similar nature.

“Generative artists often employ complex systems such as evolutionary software, artificial life, and synthetic biology (Galanter, 2003).”

Something that I would also like to add is that, although we are in an ambiguous area, it is a good place to generate a bridge that will once again unite the culture of science and the humanities. We are facing an artistic movement that is going to mark history, if it is not already doing so.

“For artists of complexity in art-science, the question should not be: “How can we get our art into the art world?” but rather: “How can we bring the art world to where we already are?”

Literature

• GALANTER, Philip. (2011). “Entre dos fuegos - el arte-ciencia y la guerra entre ciencia y humanidades”.