Galaxia compacta

The idea in this work is to make a graphic and simple representation of what the universe is, giving a sensation of infinite depth, and of ambiguous freedom, which is why the use of the square was chosen, which delimits the space, thus giving a kind of paradox where even the field with greater freedom must be confined to be able to survive. The use of dots that appear and disappear in a seemingly random manner gives the sensation of that there is something present, however, we do not obtain enough information to define what it is. At the same time, there was a decision in which the user interacts with the box, either generating a rotation, in the squares visible (by pressing the left key) or simply alter the range of grays in the box (by left clicking).

The first interaction reminds us that in any ecosystem there must be a constant flow so that it can subsist, and the second can be interpreted as the magnitude that any minimal change can generate, but that in one balanced, said change cannot mean the rupture of said ecosystem.

Technical, aesthetic and conceptual development

The work was inspired by the generative paintings of Vera Molnar, it has several squares which go decreasing in thickness and becoming darker as they move away from the limits of the plane, at the same time the use of the rotation in the squares refers in a certain way to the works of the artist mentioned above, imitating in a certain way some aspects of his generative art.

At the same time, we have chosen to make an abstract and minimalist work, because it is a style that helps give that sense of ambiguity, since it provides little information at a single glance at the painting itself, however, it is presents a problem, one wishes that even in that ambiguous sense there is a main idea that everyone who sees the work can understand it, to solve this problem, we opted for the use of a text that accompanies the table, also a series of instructions given for the user to modify the painting, but without giving too many details so that the viewer the final result has the opportunity to analyze it based on the subjectivity that it entails as an individual, and/or the way in which you have interacted with it. “…these objects do not have to be made or signed by the artist to move in the art world, while they need to be accompanied by explanations, statements or instructions given by him” (The work beyond the object, HEINICH, Nathalie., page 111).

(“The works will acquire a kind of ubiquity. Their immediate presence or their restitution at any time will obey a call from us” The conquest of ubiquity, Valery Paul, p.131). With this in mind, reference is made to the modification that the user can do on the work, capable, in some cases not directly, however it tends to maintain its main idea since it is designed to perceive these changes given by the user, which is why it is referred to in the first text to the idea of an ecosystem that remains balanced despite the alterations it may suffer.

Literature

HEINICH, Nathalie. ([2014], 2017). “La obra más allá del objeto” en El paradigma del arte contemporáneo: estructuras de una revolución artística. Madrid: Casimiro, pp. 95-119.

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