Woman at the window

It explores the concept of character, figure and background and proposes treating backgrounds as textures, bringing composition closer to the concept of assemblage. It takes as inspiration the work of Helena Sarin, “Neural Bricolage” and seeks, formally, a dialogue between the organic images of inspiration and the figures created with simple superimposed lines that will vibrate continuously. A still woman looks out the window, with holes or spots for eyes. Everything vibrates around her, everything has texture, except her. Is she a woman or a ghost?

Technical, aesthetic and conceptual development:

There is a woman looking out a window. The specific figures such as the woman and the window are worked with primitive shapes, simple lines and basic, smooth geometric figures in different shades of gray that are not repeated. Backgrounds with more complex patterns given by the repetition of parallel lines and the juxtaposition of elements that have a very slight movement that give the sensation of vibrating. This also allows the figure to stand out from its background.

In the project two planes are established, the window delimits an interior plane and an exterior plane of the space occupied by the human figure; a woman, whose eyes are darker spots that can give the sensation of having closed eyes or no eyes at all.

The texts used as a theoretical and exploratory basis were: “The art of assemblage” by William SEITZ and “The visual languages ​​of modernity, Collage, Assemblage and Montage” by Toni, SIMO MULLET, which present a historical journey of cubism, the discovery of the collage technique and its use in modern painting.

Says SEITZ: “An assemblage (a more inclusive term than the now familiar “collage”) is a work of art made by joining together cut or torn pieces of paper, newspaper clippings, photographs, scraps of fabric, fragments of wood, metal or other similar materials, shells or stones, or even objects such as knives and forks, chairs and tables, parts of dolls and mannequins, and car fenders. The symbolic meaning of these objects, not intended originally as art materials, may be as important as their realistic aspects.”

Woman in the Window works on the symbolic aspect of the assemblage observed from digital art.