Jean Dubuffet

I found this artist by accident, at the beginning I was attracted by the way he combines painting and sculpture in his work, things shifted a lot when I discovered a video on a specific piece called “Happy landscape”.

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I was surprised as it was very difficult to find any image of this painting on google, at the end, I found a good enough image of the whole painting on Instagram.

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In this video, I also learned that Dubuffet was very influenced by primitive artists.

My interest: I am fascinated by the childish way in wich the landscape is presented, I personally think that there is a strong connection between this piece and the way I want to represent the context of

I am fascinated by the childish way in wich the landscape is presented, I personally think that there is a strong connection between this piece and the way I want to represent the context of an experience. I really believe that the lack of a fixed perspective system allows the piece to include much more within the frame.

Interim Show – A lot to think about

The interim show finished and I feel exhausted, this was a great opportunity to push my self and get some work done, I have to say that I spent almost a month of very hard work in order to finish both pieces.

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I did spent a good amount of time both invigilating and also visiting the show, I have to say I am a bit surprised about the way people engaged with my pieces, not many comments and the ones that I was able to hear where misleading, I feel that some how people do not know what to make of them or just get them wrong.

Of course, I am not thinking people are wrong neither my pieces, I just feel overwhelmed.

No boundary

So far, my conclusion is that there is not such a boundary or division between physical and digital reality, we just think like that as an attempt to understand this different aspects of contemporary life, so we just try to separate them the same way we try to understand our own selves by separating body and mind.

NoBoundary

That is why I decided to change my first approach and keep developing work that involves physical and digital dimensions.

Reality is…

  • Not a thing.
  • Not a place.
  • Always evolving.
  • Always perceived in a subjective way.
  • A mix of physical and a digital dimensions.

Camberwell Rollercoaster – Fishing with VR

DIWO-1This last Wednesday Raum Gallery opened the door for me and I had the opportunity to spend for almost 7 hours sharing my first VR piece with people that was passing by (At some point I used the VR set as a “fish hook” – it worked!).

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Although I was not counting, I estimate that at least 50 brave participants sat to experiment my VR experiment. This experience taught me a lot as I had the opportunity to chat with almost everybody about the experience.

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One unexpected and wonderful fact about this whole event is that, for more than half of the participants, it was the first time ever they interacted with a VR device.

Although it may feel quite different, I want to share this video in order to give you the flavor of what people experienced.

Special thanks to:

-Donald.
-Cèline.
-Anthi.

A single man with a lot say

A-single-man

A week ago I saw the movie “A single man” by Tom Ford, it a was really interesting movie and I ended up thinking about three different scenes and one of them in particular has inspired me to do an experiment, that is why I’m going to publish this post in both my Influences and work sections.

The scenes:

The first and maybe the most relevant scene for me was the one in which George (Colin Firth) visits his friend Charlie (Juliane Moore), right when they meet on the front door, another scene fades in, it is a fragment from a previous scene where Charlie found out about the death of his lover. This this momentary overlapping made me thing about time compression not only in movies but also on images.

The second scene that captivated me was the one where George and his young student Kenny (Nicholas Hoult)  where talking inside a bar, at one moment,  the young guy replied: “we are born alone, we die alone, and while we are here we are absolutely, completely sealed in our own bodies”… “We can only experience the outside world through our own slanted perception of it. Who knows what youʼre really like. I just see what I think youʼre like.”

Finally, the third part of the movie that captured my attention was just before the end, when George experiences an epiphany and says: “A few times in my life I’ve had moments of absolute clarity when, for a few brief seconds, the silence drowns out the noise and I can feel rather than think and things seem so sharp and the world seems so fresh, it’s as though it had all just come into existence.  I can never make these moments last. I cling to them, but like everything, they fade. I have lived my life on these moments.  They pull me back to the present, and I realize that everything is exactly the way it was meant to be”.

When I saw this I felt something clicked in my head, I guess that we humans try to hold on to our most memorable moments just like a drunk guy clings to the railing while he awkwardly descends the staircase. They are like keyframes on a time line and on some rare moments, our immediate experience pulls them into the stage creating an ambiguous moment where past and present collide on to each other.

The experiment:

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From the Mind to the tip of the brush

In recent times,  I’ve been exploring the 3 dimensional representation of thoughts, I’m exploring the use of 3D objects as canvases, this has led me create a three stage process:

Stage 1

From-the-mind-to-the-tip-of-the-brush

After defining an specific concept for the piece, I start by creating a narrative oriented shape. As I create this shape I try to focus on the different possibilities of the overall shape avoiding going into to much detail, in this stage I also avoid thinking about specific images I want to use.

Stage 2

I use this object´s faces to place images and color in order to compose a “three dimensional image”. Although I keep thinking on the concept I try to let it evolve by not focusing on an specific narrative but only on the formal value of the piece until I reach a point where I feel it is completed. So far, I always print the piece before starting this stage.

Stage 3

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When I’m satisfied with the sketch I start to paint on the object, so far I’m trying to paint an accurate copy of the images I used for the sketch.

Reflection about Stage 1

Creating 3D shapes as a way to represent concepts is an exciting challenge for me, I can’t explain it but it just feels right, is like giving voice to a part of my brain that is able to do this without giving me a conscious and structured feedback. I’m definitely want to explore this further more.

Reflection about Stage 2

I think that in this stage is like a game in witch I present images to my mind in order for it to arrange them while mixing conscious and less conscious decisions, although I know I’m thinking, I’m not able to fix an specific outcome. Working with both Illustrator and Blender has created an unsuspected additional challenge for the visual composition; on one hand, working with the vector UV map forces me to arrange elements in an order that is dependent on the 3D model, so I have to change into blender in order to see the end result, this is not a direct process and this separation forces me also to work from memory. On the other hand, because of the properties of the 3D environment, my end result is an ever changing 3D image, so maybe my mind switching on and off from consciousness has to do with the fact that my brain recognizes the impossibility to find a fixed narrative, so then I have the opportunity to see the piece as an abstract representation.

Reflection about Stage 3

At the moment I’m trying to control the outcome by doing a faithful painted copy of the digital sketch, I guess this is my way to avoid getting lost or even destroying what I have accomplished in the other stages, and even though this seems logical, I have a feeling I can enrich the final outcome by letting physical expression take its part, for this I want to create bigger canvases to see if I am able to use paint strokes to blend the apparent edges between abstraction and representation.

Mirror mirror on the… screen.

The last couple of weeks I have been thinking about mirrors and how they reflect reality, It came to my mind for two reasons: the first one is that my girlfriend is doing her MA research on mirrors in photography so I’ve been discussing this topic with her, the second reason is that on a trip to Barcelona I ended up having lunch in a special little restaurant with a really cool tiled wall and I took some interesting pictures of it.

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Thanks to this experiment, I’ve decided to simulate the same situation by creating a 3D object and using it to reflect a photograph, to be thankful, I decided to use my girlfriend as the model.

So far I’ve made 3 different prototypes:

-Simple object for reflection (to get familiar with the digital process).

MirrorMirrorOntheScreen1

Reflection #1:

In this piece I was trying to understand how to simulate the physical reflection, the end result was a bit unexpected put it gave me elements to plan something more interesting, I would like to add that at the moment I have little control over the layout of the image and I’m not yet able to add more than one image. One interesting thing I’ve found is that I can use 3D digital object to actively interact with the image, it does not have to be a one way process like I have done in the past.

-Complex object for reflection

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Reflection #2:

Things got more interesting when i did this other piece, it reminded me of the work of Anne Spalter, an artist I saw on Lumen Price conference. At that time I was captivated by the possibilities of her video process. In this case, I think I found a different way to obtain the thing I found interesting in her work, but at the same time, I gained more perspective to move forward in my own direction.

-Complex object animated reflection

Thanks to the previous result, I wanted to take thing forward to see how this image reflection my work on a moving object, I was particularly interested in seeing the way transitions occur. This was a very simple animation to understand the process.

Reflection #3:

This was an interesting result, I would like to take some time to think about the out come, at the end I’m able to control the reflecting object but still not able to have a lot of control on the reflected image.
I will also like to think about how to explore video pieces because at the moment I am centered on 3D printing, eider way, I’m really happy about this experiment, I know that in the near future I will make more of this.

Final reflection:

Lately I have been looking at some of the work of Francis Bacon; the way he treats space, the way he molds the figures, the colors, the expressions on the brush… in a way, I feel I am dealing with some of the same questions he had in his mind.

Right now I’m focused on how to approach the boundaries between visual realism and abstraction and I feel that the mirrored image is an interesting asset in order to obtain some kind of appealing image that blends abstraction and visual realism in a flexible and captivating way.

Walk #2 – process

Today I started the printing of the second piece of the “a walk through ambiguity” series, It the beginning I had a problem with the printer (operator problem) and I ended up giving birth to a “small canvas alike premature deform piece”.
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Later Matt helped me with the problem and now I have to wait until Monday to stop worrying about the printing process.
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Reflection:

Even the 3D printing failures are interesting objects, I guess that it has something to do with the fact that they are unique plastic objects.

A Model for ambiguity

 

 

This is my first model for ambiguity:aModelForAmbiguity

I did use the triangle as the basic shape for structure because it adapts greatly to different shapes, it offers great advantages when  you are blending realistic paint with plain color progressions, also it is the most basic input for 3D sculpting.

I did use the colors in order to separate main elements in the composition, blue elements compose the main experience while orange elements constitute the ambiguous part.

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