Triángeles

Triángeles explores visual chaos through confrontations of different geometric patterns. The squared background proposes a rigid structure, while the triangles give a sensation of depth, resulting in an optical illusion that breaks with the order.

Technical, aesthetic and conceptual development

I do not seek to create a work that is “balanced”, “harmonious” or that fits within traditional parameters. My intention was to experiment, combine elements that are not usually linked and generate discomfort for the observer. I was inspired by Lilian Schwartz especially in her works Pixillation and Enigma. His work with computer art did not pursue a neat or comfortable aesthetic for his time. What interested him was exploration, breaking with the idea that art should be limited to paintings hanging in museums. Schwartz saw the computer as a tool that allowed him to expand his visual language. During her work as a nurse in Japan, in the context of the Second World War, she contracted Poliomyelitis, which left her with paralysis in her right arm. In her rehabilitation process, she began to work with fine motor exercises that led her to draw and paint. Years later, he found a new form of expressive freedom. Through programming, he understood that art could also be made not only with the brush or the body, but by writing code. She herself said “The machine had to keep up with me, at the same time that I learned to grow with it.” In this sense, I return to what José Luis Brea raises in Redefinition of artistic practices (21st century), when he questions the figure of the artist as an individual “genius” who creates from nothing. Brea affirms that today there are no longer artists in that romantic and isolated sense, but rather producers crossed by their contexts, experiences and technologies. Lilian Schwartz did not have a mystical “gift”, but was a producer who created from her history, her physical limitations and her personal search. His work does not arise spontaneously, but as the result of a symbolic, technical and sensitive construction deeply linked to his body and his environment. Furthermore, Brea criticizes what he calls “pixel art” as something basic and without depth, a way of using the computer as if it were just a brush, imitating traditional painting “coloring pixel by pixel.” On the other hand, my production does not seek to replicate picturesque techniques or simulate the analog. Although I do not completely master programming, I work with what the digital medium allows me to explore: repeating shapes, trying combinations and transforming patterns. The objective is for the work to disorient the eye and propose new ways of seeing. There is no hand-painted pixel, there is a structure that is born from code, from trial and error, from letting the digital also say something for itself.

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. (“La máquina tenía que seguirme el ritmo, al mismo tiempo que yo aprendía a crecer junto a ella.”) Schwartz, L. (1992). The Computer Artist’s Handbook: Concepts, Techniques and Applications. W. W. Norton & Company. (citado en Chernick, K. (2024). Women Who Pioneered Computer Art. Artnet News. https://news.artnet.com/art-world/women-who-pioneered-computer-art-2570283)