Mooving Lights

“Mooving Lights” is a work that I created with the idea of ​​using transformations and movements, inspired by one of Frieder Nake’s works “geradenscharen fine art print”, seeking to capture that feeling of change and constant movement through rotating lines. The composition is developed on a canvas, where the contrast between the darkness of the background and the luminosity of the lines create a feeling of depth and mystery in the work.

Technical, aesthetic and conceptual development

“Mooving Lights” seeks to convey a feeling of unease and unease through the visual representation of light in motion. The work is based on the idea of ​​representing the relativity of time and its impact on our visual perception. “Mooving Lights” invites the viewer to immerse themselves in a universe of light and shadows, exploring the intersection between technology and art.

“An abstract painting represents a direct manifestation of creative thought processes as they might appear in a computer design,” says Mcluhan Marshall.

The quote and my work refer to abstraction. In an abstract painting, the visual elements move away from figurative representation and focus on non-representational shapes, colors and compositions. Similarly, “Mooving Lights” consists of rotating lines without a direct representation of recognizable objects. Each person will give it the value and form that they recognize according to their life experiences.

In my case I seek to represent the relativity of time, as it is a moving composition, it can give the sensation of change and fluidity in time. The rotation of the lines symbolizes the flow of time and how our perception of it can vary depending on the speed or intensity of the events we experience. “Mooving Lights” can be viewed from three different points of attention, allowing us to explore different moments in time as our attention shifts or focuses on specific areas of the composition. This idea of ​​changing our perspective and exploring different moments in time relates to the notion of temporal relativity, where time can be perceived differently depending on our actions.

“Electric light ceases to attract attention simply because It lacks “content.” The electric light is not It is considered a medium as long as it does not display a registered trademark. So, then, “What is noticeable is not the electric light, but its content.” At first glance the work lacks a specific message, the viewer’s initial attention can be attracted by the movement and aesthetics of the lines, by the dynamic patterns that are created. For this reason, like electric light, “Mooving Lights” needs another medium to understand its content.

“The effects of technology do not occur at the level of opinions or of the concepts, but they modify the sensory indices, or patterns of perception, regularly and without encountering resistance.” The visual patterns of the work stimulate visual perception creating an immediate experience. This sensory impact can occur without the viewer necessarily being aware of the deeper or conceptual implications of the work. Furthermore, the technology used in the work can be considered an extension of the electric light mentioned by McLuhan. Like electric light, the technology of rotating lines is not perceived as a medium in itself, but rather the focus is on the visual experience and how the technology is used to create the effect of movement and transformation.

Considering the quote “Technological media are raw materials or natural resources, just like coal, cotton, and oil,” along with the other ideas discussed, highlights the importance of understanding technological media as fundamental elements in the creation and experience of contemporary art.

Like natural raw materials, technological media become tools and resources for artists, allowing them to explore new forms of expression and generate sensory and perceptual impacts on the viewer. Technology becomes a raw material that shapes the perception, interaction and understanding of art, expanding traditional limits.

Literature

MCLUHAN, Marshall. (1964). El medio es el mensaje