Caos

The work carried out takes as inspiration a selection of several works by Vera Molnár. Something that has stood out in my mind, in relation to the works that I saw by the artist (and the reason why I chose her), is the effect that those figures generate on me that seem to give a sensation of messiness and order at the same time. What I hope to realize in this work is that idea of ​​“chaos and order” that I find so attractive in Molnár’s works. Chaos in this case refers to those small variations that are generated in the composition of a work, which make it be appreciated in a different way. Relating it to chaos theory, it has an order, a structure, it is part of a system (a chaotic one), but what distinguishes it is that random behavior that seems unpredictable.

Technical, aesthetic and conceptual development

What can be seen in the work is a medium amount of squared shapes, some have gray tones and others are empty. The figures that are filled with gray tones symbolize order, since they maintain a close scale of values ​​and these are arranged in rows that represent each grayish tone. On the other hand, empty figures represent chaos because they are not arranged in a row, rather they occupy random places and sizes on the canvas. By clicking on the work you can see an exchange of tones between the gray blocks and you can also see that these are superimposed on the chaotic figures, thus generating a striking effect. This exchange of tones that is generated in the squares (which in this case represent order) ends up being a random behavior and that makes them also part of that chaos.

On the other hand, what is closest to the concept I have about this work is what José Luis BREA calls “new artistic practices.” The contemporary artist is based on using his own work (the image-technique-movement) and through this he generates narratives and produces situations that open several avenues where communication and interaction are created. By producing an interactive space, a new connection ends up being formed between the work and the viewer, and that somehow seems to me to give more value to the art one makes. The interaction between the work and the viewer is something that has existed for quite some time, the only difference today is that the artist has new technologies/tools to generate a new experience. BREA calls the artist a producer who generates narratives of mutual knowledge; he is also a driver of situations that are strengthened in the encounter and socialization of the experience between the work and the viewer. In short, the artist is someone who produces and generates an exchange of emotions.

Literature BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial