SATURADO

My work is based on the need to represent saturation as an intimate experience, sensory and something personal. The central character embodies a state of mental exhaustion and emotional that emerges when the world becomes too noisy. From the gesture of drawing, I look for a form of liberation, the act of drawing becomes a means of expression, in a way of breathing within the chaos. In my work I use certain actions such as progressive visual saturation, color distortion and movement. This translates a part of what my body feels when the mind collapses. It is not a purely catharsis aesthetic, but a staging of fragility and the need to find escape in the creation. The image then becomes performative: the code that animates it shapes a small part of my own internal process, the point where calm becomes noise, and the Noise becomes part of existence.

Technical, aesthetic and conceptual development

In the technical section, the work uses programming language as a medium, exploring the expressive possibilities of the code. The base image one (a self-portrait illustrated by me) is combines with algorithms that gradually increase the saturation level, drawing lines random that symbolize in a certain way a sensory and emotional excess. The progression temporary acts as a thermometer of exhaustion, the more time progresses, the more loses visual stability, until the image collapses into a chaos of movement and colors dark This process, although digital, tries to capture a part in which my mind sees itself overwhelmed by stimuli and decomposes into visual and auditory noise.

From an aesthetic point of view, the work is situated at an intermediate point between the pictorial and the generative. The The use of filter and distortion does not seek formal beauty, but rather to translate in a certain way a emotional experience. In that sense, it could be understood as an intimate digital installation. A space where the gaze and the visual sound of movement act on the viewer as perceptual overload. The image moves, trembles, falls apart; There is something vulnerable in its vibration.

Conceptually, the work aligns with what César Aira1 describes as reproduction expanded view of contemporary art, since a work that does not exist only as an object, but as process, story and time. In my case, the work does not seek a fixed image of saturation, but a moving experience that changes as you watch. On the other hand, Fricke2 suggests that contemporary art explores the activation of the senses through new media. Personally, I use drawing and programming to convey a bit of that feeling of overwhelm and crisis that goes through me when I am overloaded at the same time. let the viewer be immersed in the work. My piece does not seek to define what saturation is, but rather tries to show a little how I experience it. personally. It shows how sounds are transformed into simple meaningless noise, like everything becomes blurry and there is only the need to find shelter.

Literature

1 César Aira, Sobre el arte contemporáneo (2013) – conceptos de “reproducción ampliada” y el arte como relato más que objeto. Buenos Aires: Literatura Random House. 2 Christiane Fricke, Arte del siglo XX, Vol. II. Nuevos Medios (1999) – “activación de los sentidos” y exploración sensorial de los medios contemporáneos. München: Taschen.