acromatico

The production is developed based on the work of the artist Vera Molnar, taking characteristic elements in terms of its style, concept and technique. A piece, which in this case breaks away from the static world to acquire dynamism with just one click.

Technical, aesthetic and conceptual development

This production is developed based on the work of the artist Vera Molnar, taking characteristic elements in terms of its style. It is an abstract production, which presents two initial views: the first, although it lacks real movement, generates a sensation of vibration and movement due to the distribution of the primitive figures within the composition, using two fundamental values, black and white. The work repeats and plays with the positive and negative spaces of the figures, which perceptually suggest an effect of depth. And unlike the production of our reference artist, the figures are not modulated, rather they remain homogeneous. In a second instance, technically speaking we can find through the input methods, with just one click, figures that contain movement, and it will be the viewer’s choice when to stop it or prolong this movement, capturing a new composition in each interaction.

There are two works by the artist Vera Molnar that were fundamental in guiding the aesthetic match of this production: “Hypertransformation 19” and another that is part of the exhibition “Talking to the Eye.” In both, repetition, variation and perception of figures are worked on. However, this artistic practice is completed with the participation of the viewer and the opportunity for the producer to step out of the traditional role by facilitating the space for this experience and audience participation to occur, acquiring a new meaning.

As mentioned above, there is not a single version, but rather two initial views that vary with the interaction of the operator. The time in which the story takes place multiplies the narratives. José Luis Brea, in his text “Redefinition of artistic practices”, refers to narration as one of the fundamental ways for the development of artistic practices, along with the generation of events and mediation. These ways highlight the importance that the work does not have a single story, but rather it changes according to the interpretation of each viewer. In addition, it enables spaces and meetings for socialization in the face of this artistic fact, along with the participation of online networks or platforms, as a means to connect people and encourage the exchange of ideas and knowledge. And this socialization and exchange gives way to what José Luis Brea calls in his book “Brief (and messy) antiglossary - or dictionary of topics - on electronic art”: “immanent criticism”, the author bases that it is a primordial tool with which everything we know as art has been produced and bases that “Only those languages, or domains of significant production, in which a critical exploration of their own limits is carried out - contribute productions that we must legitimately consider. “art"". This approach can involve the viewer in the interpretation and evaluation of the work. And in doing so, deep reflection on the limits and possibilities of art is encouraged, opening new perspectives and enriching the artistic experience.

Literature

BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial, pp. 4-8..

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC, pp. 106-113.