RESURRECTION OF ART
MUTATIONS IN THE ABSTRACT
BY Emilio Vieites Aguiar “E.V.A”
The study of the mutability of an abstract work of art capable of reacting to external stimuli of light or generating it from within is based on the integration of gray layers. These gray tones are captured through cells that are activated in the dark and found in the eye; The sticks. Actually they constitute the majority of the sensitive cells of the human eye.
There is in this concept an idea of recovering the value of things by itself, extracting the content of the work not only as a product of consumption in the art market, but also for its own relevance, as a true social and cultural reflection of being human.
Mutations in abstract painting. Ranges of reflection in light and color.
“In this concept there is an idea of recovering the
value of things for themselves. To transcend the human values and return to the
origin through Nature with freedom recovering the content of the work not only
as a product of consumption in the Art market, but also for its own relevance,
as a true social and cultural reflection of the human being «
Abstract painting has allowed decentralizing the object of creation away from its support and transcending into an immaterial space through the study of color and light revealing the behavior of retinal vision.
In this line worked the artist Joseph Albers German artist, painter, designer and teacher whose work created the basis of some of the most influential artistic education programs of the twentieth century.
In his book The interaction of color, he showed how colors are not perceived autonomously, but rather show certain characteristics depending on what is placed around them.
To understand this, it is necessary to observe what happens between colors. Thus, the colors are presented to us in a continuous flow, constantly related to the contiguous ones and in changing conditions.
Consequently, this shows for the reading of color what Wassily Kandinsky often asked for in art reading: what counts is not the what, but the how.
In 1930 Lazlo Moholy-Nagy filmed Schwarz Weiss Grau (moving light black-white-gray). Based on his work within the kinetic movement, previously worked by Alexander Rodchenko, I developed this small abstract piece where lights, shadows and movement, interacting together in materials and forms. These materials and forms are not always abstract, being able to identify momentarily. Lazlo Moholy-Nagy was one of the reference artists of the school and the Bauhaus movement, being one of the artists of the time who worked with photography from a totally free point of view, doing interesting works around the possibilities of the photographic . From these investigations around light, his famous frames emerged.
The artistic object was disconnected from its representation functions and was then free to become a real object, an object of the world that was not subject to the expense of its resemblance or illustration of other models.
What ability can an abstract work of art possess to transform under reflected light without using mechanical elements, devices or chemical components beyond mineral pigmentation?
You might think that what is sensitive to light is able to mutate indefinitely and show hundreds of expressions of the same content. Who speaks in the name of a work that depends on its existence of contemplation. That which can be pardoned in one time and in another be reduced to dust ?.
The need to give self-sufficiency to artistic creation and move away from the exclusive spiritual experience on the part of the observer has been dealt with numerous times throughout the history of art, there are thus numerous references of literary authors and plastic creators in this regard.
“The image is isolated and abandoned and is therefore vulnerable. From time to time you need protection. The painting must fight indifference without anyone’s help. The spectator does not take in directing his glance towards other objects. The image is not always self-sufficient. You need a specific reference body to capture and retain that look. ”Pierre Alechinsky (1927.) (2)
In 1955 the year I visited Paris for the second time since the war; Tadeusz Kantor refers poetically to the appearance of the informal in these terms:
“Create a painting that itself is a living organism that advances like a colony of ants in response to its movement so evident and beyond all the rules admitted by the painting… so that it appears before our eyes as a MOVEMENT itself same. ”(1).
(1) (2). The informalist rebellion (1939-1968). P. 102, 195.
GRAY IN LAYERS INTEGRATION TECHNIQUE
The study of the mutability of an abstract work of art capable of reacting to external stimuli of light or generating it from within is based on the integration of gray layers in the material with which it works.
One of the most important aspects is the incorporation into the mixtures of acrylics in shades of gray. These tones are captured through cells that are activated in the dark and found in the eye; The sticks. They capture the shadows, the contrasts and always work in low light conditions. Actually they constitute the majority of the sensitive cells of the human eye.
The process begins by obtaining a sculptural material base on the canvas, using Canson crepe paper, sand, latex, water and acrylic colors. The number of layers that will be added follows the needs of each work and the amount of gray tones close to the base color that we initially use.
The complexity of the process lies in the drying of each layer that leaves a translucent part to the next, the integration processes being extremely complex to control, and only the practice allows a certain degree of control.