Luz & Oscuridad
The work covers different topics, some more controversial than others, uses specific techniques (referring to George Nees and A. Michael Noll) and a short code. Its meaning tends to be profound, although the interpretation is different for each person.
It has a certain variety of layers, some superficial, those that we see and ignore, others delicate, that we pass over as if they had no influence, some that are a little more compact, that even make us uncomfortable just thinking about them (or discussing them), and a few others, exaggeratedly rigid, that we need great will to go through.
She “feels” the need to expose herself, contradicting Brea, she tries to control (unsuccessfully) the gaze of those who will judge her later, thus assuming a guided visual tour at the beginning and free at the end.
Technical, aesthetic and conceptual development
Light and darkness, two forces that constantly fight to overcome each other. The work shows the silent work of each one, from scratch, from nothing, separating them, without allowing them to touch, come together, mix.
We can observe how darkness (represented by the color black), subtle as itself, being hypocritical, appears to leave a trace, however, it unites each stroke, thus hiding its starting point, using perfect camouflage it seeks to have an increasingly greater scope. We must pay attention to be able to see its most fearsome form, the void… but be careful! Be careful not to stay there for a long time, because it may be difficult to get out of there.
At the same time, we can observe how light (represented by the color white) works constantly, illuminating everything in its path, leaving a mark. It does not seek to hide, on the contrary, it needs us to see it, to trust it, to keep it present at all times. It is not necessary to spend a long time in it, something brief, but real, is enough. Tranquility, that is what it aims to convey.
Our experiences, the people around us, what we know (and what we don’t), everything that happens during our fleeting life is represented in that path of circles. At times we believe that it is going in only one direction, one that we think we know, although other times we have the feeling that it changes direction, leaving us directionless. It is variable, never constant. We see that there are not only blacks and whites, there are also many grays, many sizes; It’s everything we can’t control.
In the center, we find ourselves, different at all times, making multiple decisions day by day, some easier than others, going from 0 to 100 at any moment, sometimes we see ourselves represented by light, sometimes by darkness, although most of the time, we are simply gray scale.
Literature
BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos- sobre el arte electrónico”, pp. 4-8. “La nueva economía del arte no entenderá más al artista como productor de mercancías específicas destinadas a los circuitos del flujo en las economías de la opulencia, sino como un generador de contenidos específicos destinados a su difusión social”.
BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en El tercer umbral, 106-113. “En las sociedades del siglo 21, el arte no se expondrá. Se producirá y distribuirá, se difundirá”.
Gaussiano-Cuadrático, A. Michael Noll.
K15 Caminos erróneos de oblicuo a rectangular, George Nees.