Desencuadre

Art is truly broad and complex, in any of its forms, and the role it plays in the people who enjoy its existence is amazing. Just as painting marked an era, (and continues to do so to this day) today, digital art occupies a very important place in the world of artistic expression.

Technical, aesthetic and conceptual development

To begin writing a text that accompanies my piece, I find it necessary to start from where I started. I found the reference in the work “Square Structures” by Vera Molnar, who, in most of her creations, uses geometric figures, in this case, squares and rectangles. That is why my piece is composed only of these two previously mentioned figures. Additionally, I added a mouse click interaction, which alters the initial piece revealing the first image, but with the tones inverted.

I decided to name my piece “Desencuadre”, a bit referring to the name of the work “(Des)Ordres” by the artist from which I was inspired. I understand my piece as a tool to tell that with simple actions we can generate big changes, perhaps with just one movement. This way of “telling” is widely developed by Nathalie Heinich, in “The work beyond the object” where she makes it clear that many times the object is only a pretext to narrate what the artist wants to communicate. It also states that the complete experience of the work is not reduced to the material limits of the object, but can be enriched even by the vandalism it may suffer. What I mean by this is that the interpretation I give to my piece does not play a secondary role, nor does the interpretation that the audience wants to give it.

The way in which the media acts towards art plays a fundamental role, especially if we take into account that with the passage of time new forms of exhibition emerge. This is how today we can spread our work through means that were unthinkable years ago. Paul Valéry in his text “The conquest of ubiquity” explains what happens with art and the medium-spectator relationship. He states that some works such as visual or auditory images “will no longer be in themselves, but where there is someone and a device.” The piece becomes the property of anyone who wants to have it. We could say then, that unlike what happened in the past, today there are more of us who have the possibility of enjoying art, disseminated by whatever medium, and understood in the way we can.

Literature

• HEINICH, Nathalie. ([2014], 2017). “La obra más allá del objeto” en El paradigma del arte contemporáneo: estructuras de una revolución artística.
• VALÉRY, Paul. ([1960], 1999). La conquista de la ubicuidad (1928). En Piezas sobre arte.