Laberinto

This image is made up of a sequence of lines that are generated from nothing and that in their path draw a geometric structure composed of triangular and rectangular shapes, in this way paths begin to be created.

Technical, aesthetic and conceptual development

This work uses eight simple lines that are driven and, depending on the position they have on the canvas, they begin to move, bouncing from top to bottom or from left to right, drawing the path as they go. This is achieved using structures that establish the limits of movement between both ends. The edges of the canvas are made up of four lines on each of the four sides that slowly grow until they enclose the figures. The aesthetic section is in black and white, the constant repetition of lines forms a texture, the paths and triangular shapes generate a kind of map.

This representation is inspired by one of Vera Molnar’s works “A la recherche de Paul Klee” (In Search of Paul Klee) which is part of a series that explores the influence of the works of Paul Klee (German painter with a surrealist, expressionist and abstract style) using the computer as a tool to generate geometric shapes with algorithms. The work is presented in digital form by applying a sequence of lines to represent a labyrinth. Vera Molnar was one of the pioneers of digital art, it can be seen in her works as she demonstrates that all her artistic productions use straight lines intertwined with primitive geometric figures through a computer. This representation aims to be a work of art with geometric figures combining technology and creativity. At first I did not know how to approach this work so, through trial and error, I began to execute a series of structures, in this way it was possible for me to create a labyrinth through the appearance of simple lines with the arrangement of geometric elements forming several intricate paths, in this way I tried to copy Molnár’s way of working, practically limiting the formal repertoire of this image to the square, the triangle and trapezoids, introducing slight alterations with the generation of shapes along with their respective coordinates. The narrative that I want to express with this production is that in life there may be different options to achieve an end but some of them come to nothing because there are crossroads or difficulties along the many paths that are presented to us.

This can be considered a “Computer Art” that can be hosted on the network, said artistic expression can be recovered by whoever wants or by whoever is interested. It can be shared on the network where its technological implementation takes much less time, ensuring the transport of large information contents (various contents and other works of artistic production). This artistic work is an intangible asset that can produce emotional or meaningful symbolic effects given that it wants to represent a subject with a certain situation in his or her life. This work is not art but an artistic practice where its production tries to play a specific role. Production with digital use represents one of the new practices of the 19th century where the product of one’s work is in the public domain and the Internet is the area of ​​circulation. This type of artistic expression is part of the new practices, it is an immaterial and intellectual work where a programming language is applied, the ingenuity of the author and using figures from the artistic medium as a reference, thus allowing this representation of the labyrinth. With this I want to have a product that generates a narrative that represents many in a state of indecision at some point in their lives.

Literature

BREA, José Luis. (2002). Breve y desordenado antiglosario o diccionario de topicos sobre el arte electronico.

BREA, Jose Luis. (2008). Redefinición de las practicas artisticas.

Creacion Hibrida | VERA MOLNÁR, UNA PIONERA DEL ARTE GENERATIVO: DEL ALGORITMO A LA NFT.