Fluidez Abstacta

Taking inspiration from two prominent artists who pioneered computer-generated art Ben F. Laposky and Herbert W. Franke, I have created an abstract work based on a careful montage of shapes generated by movement and the juxtaposition of curves. This visual experience invites viewers to take a moment to contemplate it, observe its smooth movement, and immerse themselves in the visual experience without the need for active interaction.

Technical, aesthetic and conceptual development

My work is inspired by Ben F. Laposky and Herbert W. Franke, two prominent artists who pioneered computer-generated art and have made important contributions to the integration of art and technology in their respective eras. In particular, my interest was in image number 3 presented in “Electronic Abstractions”, an exhibition held by Laposky in 1953. The author highlights in his works the interest in designs derived from mathematical, physical and technical sources that led him to experiment with the graphic possibilities of the cathode ray oscilloscope, he called these works “Oscillons”.

Based on this, my idea was to create an abstract work through montage, remembering the definition of montage cited in the text “The visual languages of modernity collage, assemblage and montage” by Simó Mulet: “The French concept of montage has a meaning close to assemblage. It is, at the very least, a kind of assemblage. When the editor assembles the separate images into a given series, in such a way that their conception allows a certain and desired effect to be achieved, that “It works like an engine that assembles the various parts of a machine, in such a way that it becomes a productive machine.” In my work, I explored the shapes generated by curves: their movement, juxtaposition and dynamism to create a contemplative visual experience.

Access to the creations of these artists and past artistic trends immerses us in a vast world of knowledge that enriches our artistic perspective and that has been fundamental in the creation of my work. Without the privilege of accessing these artistic expressions today, my artistic perspective and knowledge would be limited. Thus, as Valery, Paul, mentions in his text “The conquest of ubiquity”: “The works will acquire a kind of ubiquity. Their immediate presence or their restitution at any moment will obey a call from us.”

Literature

SIMÓ MULET, Toni. (2004). Los lenguajes visuales de la modernidad: collage, assemblage y montaje. Murcia: Repositorio Institucional de la Universidad de Murcia, pp. 1-28.

VALÉRY, Paul. ([1960], 1999). La conquista de la ubicuidad (1928). En Piezas sobre arte. Madrid: Visor, pp.131-133.