The-Art-of-Choise

“The Art of Choise” is a work inspired by the series of projects known as (Dés)Ordres by Vera Molnár, presented in 1974.

She is considered one of the main initiators of algorithmic, generative and computer science, non-figurative art. Therefore, his works focus on geometric figures with themes that highlight their beauty in the contrast of attributes.

Based on the proposed series, I carried out code programming, integrating geometric figures with generative design, giving the program the possibility of showing a random production with pre-established restrictions or design laws.

Technical, aesthetic and conceptual development

We can visualize five columns containing eleven squares aligned vertically, one on top of the other. These figures are set to repeat with layout changes randomly granted by the program, which can simulate said columns moving infinitely downward; This feature is enhanced by the selected background color that contrasts with the designs of the generated figures.

To develop the technical, aesthetic and conceptual part, I was inspired by the aforementioned works of Vera Molnár (Dés)Ordres, who uses mostly geometric figures and algorithmic technique. In my case, I used primitive figures in various positions determined by measurements established for this work, in conjunction with a varied gray scale, the most important point was the use of variables that allowed generating the sensation of movement in the image and last, but not least, a background was used that would give more presence to what was created and contrast with the entire space behind.

Investigating conceptually, I related my work to the text “The work beyond the object” by Nathalie Heinich, specifically in the concept of CONCEPTUALIZATION: THE IDEA. She begins by talking about the immateriality of the idea “Is there anything more immaterial than an idea? Without a doubt, for it to exist, it must be embodied in objects, even if they are only words on any support.”

We have “the idea” as something intangible, to give it a space, an entity, we need to overturn it, give it a place of belonging, make it exist as something else or in something else. Every idea that is externalized brings with it choices, whether to a greater or lesser extent. When trying to capture it, we must take charge of how we do it. What media to use? In what way? What do we want to show as the final product of that initial idea? Getting deeply into these concepts made me think about all the times an idea is rejected, how many times is it modified? How many modifications must we make for an idea to be correct? What if there are no modifications? Is something that has nothing to change valid? Each step that an artist takes on his work is a choice that has an impact, both on the process and on the final project.

“Now, the choice is a creative act, which reveals the arbitrariness of the artist and his creative freedom,” which “no longer responds to a material act, of the

make of the artist, but to a thought that necessarily carries out a ‘choice’ - (The work beyond the object by Nathalie Heinich)

We can say that every decision made when making art is art in itself, let us not be afraid to create.

You can start with a simple blank canvas or with an idea shot fleetingly thanks to another artist. At the end of the day, as expressed in “Redefinition of artistic practices” by Brea, José́ Luis “There are no more “artists” as such. There are only producers, people who produce. There are also no “authors” per se; any idea of ​​authorship has been overwhelmed by the logic of circulation of ideas in contemporary societies.

Literature

HEINICH, Nathalie. (2014). “La obra más allá del objeto”.

BREA, José Luis-LSA47. (2008). “Redefinición de las prácticas artísticas s21”.