Reverberación de una maquina de afeitar

The work invites you to immerse yourself in a hypnotic visual experience where symmetry and deformation interact in a continuous dialogue. When contemplating it, the conventional notion of time is lost, allowing the mind to surrender to a state of fluidity where the past, present and future intertwine. The work seeks to convey that sensation of dizziness and continuous transformation, reflecting the transience of time and the constant evolution of forms. Razor Reverb uses geometric figures that respond to the position of the mouse, warping and transforming in real time.

Technical, aesthetic and conceptual development

This piece takes inspiration from the works of Lilian Schwartz and Ben Laposky, focusing on the dynamics of time and movement. The technique used is based on the deformation of simple geometric figures that rotate and change size in response to the position of the mouse. Each figure unfolds as a hexagon, with its size and shape dynamically adjusted to create an ever-changing visual experience. Ben Laposky’s influence is reflected in the way simple figures transform into complex patterns, showing how continuous transformation can give rise to new shapes and sensations. Like Schwartz’s works, the piece uses repetitive movement to create a hypnotic and immersive experience, where the balance between forms and their transformation reflects the transience of time.

In redefining 21st century artistic practices, Brea highlights the importance of capturing the mutable and the ephemeral. “Art is redefined in its ability to capture the fleeting, the mutable, that which is in transit and is never completely fixed. Temporality and transformation are its main coordinates.” (Brea, 2008, p. 110). This work aligns with that vision by offering an experience that goes beyond the static, creating a bond with the viewer through visual perception and interaction. The constant transformation of the figures invites reflection on the nature of time and change, generating an intersubjective experience in which each viewer perceives movement and deformation in a unique way.

Literature

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

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas s21” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC