malflash

The work consists of a solid black background and three dynamic white lines, which alternate directions at 90° angles independently and randomly, and do not escape from the canvas. These lines generate static visual patterns by applying layers of transparency over their traces, so the work ends up being composed of three colors: the canvas in black, the dynamic objects in white, and their traces in an intermediate gray. The last component is a momentary self-destruct by superimposing all-white light over the accumulated patterns (a “flash”). The event occurs every semi-random intervals that allow it to regenerate without altering its behavior or returning to previous states, until the superposition is reiterated and the cycle is reiterated.

Technical, aesthetic and conceptual development

The piece is not entirely ephemeral, although it is not immutable and even less static. Generates patterns autonomously and initially expansive; The interruption of the white screen undoes but also remakes, it is both the erasure and the possibility of a new production. Necessarily different, given the arbitrary movement of its objects, but new at the end and still recognizable.

Although the work is dynamic from the beginning, the generative patterns to which it converges are reminiscent of works such as Vertical-Horizontal No. 1; 2 and 3 (Michael Noll, 1964) and untitled generative works by Georg Nees. The similarities do not end at the aesthetic level, since “malflash” is not concise in its conceptual nature: “presences” can be recognized on a background, but they would hardly be associated with a representation of specific concepts.

What runs through the piece in every aspect is generative disorder (although controlled) and circulation through presence and absence, through remanence and disappearance; It is a work that is explained in its production and not in its authorship.

Literature

BREA, José Luis. (2008). “El Tercer Umbral”. Murcia: CENDEAC.

GALANTER, Philip. (2011). “Entre dos fuegos: el arte-ciencia y la guerra entre ciencia y humanidades”. Universitat Oberta de Catalunya: Artnodes.