Quiebre

“Break” is a generative work that addresses the tension between order and break within a geometric visual system. It starts from an initial pattern of lines that emerge from the center of the plane towards the outside. Over time, random variations in length and direction transform that order into an unstable structure, where the balance deforms without disintegrating.

The idea that “the work itself, the activity that concretizes it, is actually what produces us” aligns with the logic of this work (Brea, 2008, p. 1). More than an author who dominates the work, here the process and the system are what constitute and produce each other.

Technical, aesthetic and conceptual development

Technique:

The work is developed in a programming-based environment that allows the creation of generative images through code. The canvas has a size of 512 x 512 pixels and uses a gray scale, creating a monochrome atmosphere that reinforces visual simplicity. In this work, lines are produced that emerge from the center of the plane towards the outside. Its direction and length are defined by a controlled deformation, causing a progressive transformation. The time variable acts as the engine of the system, causing the lines to lengthen and deviate as the animation progresses. This generates an unstable visual field, in which the initial order is gradually deformed.

Aesthetics:

The work adopts a minimalist and abstract aesthetic, based on the use of simple geometric lines and their repetition. When working in grayscale, structure and process are highlighted more than color. This aesthetic brings balance and rupture into play, proposing an image that, without reaching total disorder, maintains a degree of structure.

Conceptual:

“Break” reflects on the fragility of regular systems with the discourse of order and chaos. It is based on the idea that even a stable structure can be altered without destroying the system, but transforming it. The work also explores the relationship between control and indeterminacy: the code establishes clear rules, but leaves room for disturbance, with its concept of “disturbed order” and use of algorithms to convert simple geometric structures into chaotic compositions.

Literature

• 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.