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Some feedback – the final critic.

From the far away is quite interesting because you see different things, outside it looks hard and solid, but you don´t know what is inside and you want to go and check it.

A deconstruct of another reality, a light is something to consider.

You can see green reflected to the blue. The rigor on the outside it contain the organic shapes inside.

The bits and pieces of the  outside giving connection of what is inside, but at the same time is so opposite, the box is the finish piece, the outside pieces are not so shiny, one doesn’t know if is in porpoise.

When you look inside you become part of it because you see yourself inside the box.

Someone say that it would be great to see the box moving from one side to another and could be the analogy of moving of oneself to another self.

From the holes there are different views and you can see different shapes, is a kind of disorientating,

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IN AND OUT .

I want to unsetle rather than comfort, I did a collage 3 weeks a go, I though it was finish, but I decide that I could push farther and I cut it out,I added papers that I painted 4 years ago, this morning I thought why not to cut it again and I added a new 3D shape . I will situated near the mirror box to create a contradictory display it looks contradictory but is not.

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I pretend to unsettle the public with this two contradictory pieces.They look contradictory one looks shinny surrounded by mirrors, reflecting shapes and colours the other one is with  unshiny papers and located without any box. IS THE IN AND OUT,The starting point of the two pieces are the same but they develop in a different way and different materials.

intention of breaking up space, looking for the shapes in between, open up or containing in, conect things toguether, infinity, reflection of the self, perception of the self, the fiction, the real.

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Mirroring the perception

I situated the piece inside a box full of mirrors, challenging ideas such as infinity, repetition, self in others,  in and out. The pieces situated inside the box are two bodies reflecting to each other the duality of the two sides of humans and the integration of them , that’s why I attempted to interlock them.

When you look through the 4 holes of the boxes, you are able to see  parts of the piece and your own eye on the other side of the box. In a way you see your  own matrix, your own fiction, or the real. In order to further affect your perception of what is fiction and what is real, you also experience different shapes depending on the angle of the holes.

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I’m influenced by the artist Kurt swchitters, his collages with found papers related to what’s going on at that time, and I’m also fascinated by his 3d collages and instalations.

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The piece that will go inside the mirror box is compose for 2 pieces and they interlock to each other , the box will have some holes and the public will have to look at the piece from the holes, they will see different shapes on each hole. The idea behind is perception can change the meaning or can change the shape, the mirror is representing the law of correspondence ,what is in is out and what is out is in.

The two pieces inside the box are intelock and become one. DUALITY.Every good quality has its bad side and nothing that is good can come into the world without directly producing a corresponding evil.

One example of this duality is that we cannot achieve wholeness without integrating the dark side of the self.

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These prototypes are a resoult cutting discarded defective prints, I manipulate my elements, I choose one print and work in various ways. I dissolve, push, pull, deconstruct, construct and collapse the image resulting in a process of constant abstraction and figuration. As I don’t have a preconceived idea it’s a call and response outcome.

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Sol LeWitt earned a place in the history of art for his  Conceptual movement. His belief in the artist as a generator of ideas was instrumental in the transition from the modern to the postmodern era. Conceptual art, expounded by LeWitt as an intellectual, pragmatic act. LeWitt believed the idea itself could be the work of art, like an architect who creates a blueprint for a building and then turns the project over to a construction crew, an artist should be able to conceive of a work and then either delegate its actual production to others or perhaps even never make it at all. LeWitt’s work ranged from sculpture, painting, and drawing to almost exclusively conceptual pieces that existed only as ideas or elements of the artistic process itself.

LeWitt’s refined vocabulary of visual art consisted of lines, basic colors and simplified shapes. LeWitt would provide an assistant or a group of assistants with directions for producing a work of art. Instructions for these works, whether large-scale wall drawings or outdoor sculptures, were deliberately vague so that the end result was not completely controlled by the artist that conceived the work. In this way, LeWitt challenged some very fundamental beliefs about art, including the authority of the artist in the production of a work. His emphasis is most often on process and materials . Meaning was not a requirement.

Different shapes, located in different angels, with different perspectives, sizes and colours and the same material  creating a feeling of suspension.This is a possibility of a new installation for realise project.