Inesperado

Based on symmetrical figures in movement, this work proposes a deep reflection on pre-established expectations when contemplating a work and creative liberation in the field of generative art. It arises through a process of search and experimentation in the code. Its objective is clear: to generate surprising and aesthetically satisfying forms. This approach generates a direct relationship with the words of Inke Arns: “The generative processes produced by the software fundamentally serve in this case to avoid intentionality and produce an unexpected, arbitrary and everlasting diversity of forms.”

He tries to raise the same questions as Cesar Aira in “On Contemporary Art” about whether “anything” can be art. And to challenge the conventions of conceptual art, by distancing itself from a predefined explanation or concept as the basis of the creative process. It is presented as an act of artistic liberation, exploring the viewer’s reaction to the apparent absence of a specific conceptual idea.

Technical, aesthetic and conceptual development

The technical development of the work is based on a succession of symmetrical circular geometric figures in movement. These movements allow the unexpected appearance of new figures and shapes that emerge as a result of the different circles meeting, adding layers of complexity and dynamism to the composition.

The work can be interacted with by clicking, which modifies the color saturation and brightness. Also using the “A”, “S” and “D” keys. Each key shows the same piece in different scenarios, with variations in its angle, rotation speed, and at a different time. So that the surprising shapes are highlighted and at the same time there is greater control of the piece. Furthermore, when changing the scene, it does not restart, but rather continues its evolution, offering the possibility of perceiving variations each time the work is contemplated.

Unlike conceptual art that seeks to convey a specific message or idea, this work distances itself from any attempt to encapsulate itself in a specific explanation or meaning. Instead of proposing a predefined conceptual idea, the work stands as an exercise in artistic liberation. In an area in which “everything must be permitted so that what emerges from that everything has the liberating value that we should demand from art”, he proposes a renunciation of the rigidity of intentionality.

In the words of Allan Kaprow the importance of understanding and accepting the word “chance” is manifested here; Random means do not invariably involve the reduction of the work to chaos or indifference. On the contrary, the identities of the artists who employ these techniques remain perfectly clear. This analysis aligns with the exploration of the work, where the release of the need for total control over the creative process and the acceptance of non-intentionality allow the work to evolve autonomously.

Literature

ARNS, Inke. (2005). “El código como acto de habla performativo”. En Revista Artnodes, Julio de 2005, ISSN 1695-5951.

KAPROW, Allan. (2015, 2016). “Happenings en la escena newyorkina (1961)” en Entre el arte y la vida. Ensayos sobre el happening. Barcelona: Alpha Decay, pp. 57-74.

AIRA, César. (2013, 2016). “Sobre el arte contemporáneo” en Sobre el arte contemporáneo. Buenos Aires: Literatura Random House, pp. 11-56. (DAA: 1:02m)