Distorisón

Distorsión explores the exhaustion and alteration of body perception caused by hyperconnection and the acceleration of contemporary immaterial time. Through a human figure and a face that lose their axis, the work uses the rapid movement of vectors that deform the stroke in real time to represent hyperstimulation and anxiety. This dynamism contrasts with a background that slows down, provoking a certain impatience, seeking to invite active presence against the inertia of the constant flow of data.

Technical, aesthetic, and conceptual development

I wonder, where will this tide of stimuli lead us—demanding constant presence and slowly dragging us into a time that no longer knows depth? This work stems from a fissure in my daily life: existing and experiencing the present in a body that attempts to process a speed that far exceeds its sensory capacity. Inhabiting contemporary life has turned into an invisible race, where we are constantly exposed to events that leave no room for pause, transforming the hours into a state that fluctuates between hypervigilance and total disconnection. It becomes inevitable to return to Paul Valéry in “The Conquest of Ubiquity.” Valéry warns of how sensory stimuli would eventually become as accessible and naturalized as water and electricity utilities. This omnipresence, which is not only characteristic of our era but actively demanded, leads us to a distortion in our perception of things and of our own bodies. Concepts like “Sensory Reality at home” are no longer distant: they have been fulfilled and are, in fact, our present reality.

We observe that this acceleration even reaches our ability to name things. As José Luis Brea points out when discussing electronic art in “Short (and Unordered) Anti-Glossary on Electronic Art,” this technological evolution moves even faster than language itself, causing forms and terms to vanish before they can even settle. Or as he describes our current condition in “Redefinition of Artistic Practices in the 21st Century,” defining it as an “immaterial time” dominated by an accelerated circulation of information—one in which artistic practice must counteract by operating within the realm of event and presence. What at the beginning of the 20th century was marketed as convenience now allows us to visualize and experience the true costs of hyperconnection: the immateriality of the network does not free us from time, but rather transforms our present into a constant flow of data.

The insensitivity of our age leads me to ask what emancipating art from the spatiotemporal realm has truly left us. It is precisely here that I find a strong correlation between my own experience and the work of Charles Csuri, as we both seek to give shape to a condition that requires distorting the body and the face as a form of expression. Through this medium, he materialized psychological and emotional states where form manifested concepts such as weight, anxiety, or collapse. In my work, the human figure and the face lose their axis to enter an altered rhythm, aligning with Csuri’s foundational principles. The rapid movement of the vectors represents this sense of acceleration, while the background—fading into transparency slowly—attempts to counteract its pace, moving deliberately to provoke a certain impatience in the viewer. Furthermore, the figure moves, bounces, and disappears. I use these mechanics to represent both the underlying theory and my own physical, lived experience of daily life. The stroke of the face distorts in real time; the vectors do not aim to draw or depict it, but rather to deform it in response to these very tensions. If the current global landscape is one of hyperstimulation, I reaffirm the importance of presence and of truly enduring and letting ourselves be affected by these issues, so that the inertia of the present does not sweep us away. I refuse to oscillate, like the face in my work, between disconnections and rhythms that do not belong to me.

Bibliography

BREA, José Luis. (2002). “Short (and Unordered) Anti-Glossary -or Dictionary of Topics- on Electronic Art”. Salamanca: CASA Editorial.

BREA, José Luis. (2008). “Redefinition of Artistic Practices”. Murcia: CENDEAC.

Brief resume

Victoria González was born in Buenos Aires in July 2004. She began her artistic studies in dance at a young age, and at 19, she entered the Taller de Danzas of San Martin Theater. In search of new methods of artistic creation and with the intention of expanding her creative fields, at 22 she entered the Multimedia Arts program at the Universidad Nacional de las Artes, where she intertwines her two worlds and delves into new interactive experiences blending art and technology.