ON THE NATURE OF MY ART FORM
What are they?
How are they called? One answer is they are “DaydreamingDrawings” or in
Spanish: “DibujosENsoñación” because they are produced in a state of
Daydreaming/Porque se producen en un estado de ensoñación. As the hand of the
artist traces a mark on the paper (a mark that must be a line or more), the
whole scene emerges through an external visualization process on that same
paper. This is a concept based on the perceptual process coming from the mind
of the artist.
Now, one wonders what comes from the
mind of this particular artist? The
artist, as it is evident from the previous statement, knows how to produce
them, but doesn’t know himself what they are. They just develop. This is what
got the artist thinking, “they must be objects in my mind that I want to see
impressed externally” . So, another way of seeing them is as IDEATIONS, that is, drawings of ideal
objects, somewhat figurative, abstract or even non-figurative that emerge from
the mind of the artist. This concept comes precisely from the daydreming-drawing process of imagery
associated with the platonic idea of the ascension of the soul to Topus Uranus
contemplating the real forms and their increasing perfection. So, they are
metaphysical entities and realms searching for aesthetic perfection on the
artist’s own terms.
As the artist progresses making his
drawings happen on paper, they become
toys that help him play multiple perceptual games associated with intuitional
mathematics and optics. They are creations that become perceptual toys to play perceptual
games with. In this regard, they are called ARTITOYS because of their
ludic nature. Then this becomes an art form that merges visual art and toy in
the original term of the word as “an object to play a made-up game with”. Artitoys
are installation drawings placed on a spinning device that the viewer can
operate to play the game of reconfiguration of one and only drawing into at
least four different positions or angles. An artitoy becomes an alternative
inmersive experience derived from hand-made art. The artist hopes that people
somehow will engage in a conversation
about their experience with the artitoys.
In a possible exhibition below each artitoy there will be cards and pens
for people to write their impressions as a lab of perceptions and points of
view that can be shared communally.
They take the name of CREATIVE ALGORITHMS because through
their free-hand making they display an specific array of functional and
structural creative instructions that provide certain logicity, sintax, and
configuration to the drawing. These drawings do not intend to symbolize or
represent anything in particular, but if the observers finds any associations,
symbols or representations of something in particular, it is their own
approximation to this work of art.
Because
there is the urge to link them to language in order to become a configuration
of an image-concept and/or emotion that provides some sort of meaning or sense in
the viewer’s mind (including the artist), they become POETIC VISIONS. All
of them carry a suggested title,
that becomes a configurative password or clue to enter the universe of the
drawing. However, since the nature of these drawings is ludic, they open up the
possibility for the viewers to configure them in whatever way they preceive these
poetic visions accordingly.
Because
there is an intention to offer a perceptual functionality as a perceptual toy
to play with, these drawings merge as designs with the purpose of contemplating
aesthetic exercises (in notions such as : dimension, pattern, perspective, angle,
projection, simetry, balance, harmony, resonance, movement, decoration, beauty
and their opposites). Therefore, they are Drawing Designs. It should be
noted that the design emerges as the drawing is made and it follows those
creative algorithms mentioned above.
Because the constructive element of
these visual structures is an exploration in the drawing adventure of the LINE,
they can also be called LINEARITIES. The line here becomes a metaphor of
life since innumerable essential things for existence are actually lines from
atomic orbitals, and DNA chains to celestial bodies’ orbits and pathways, from
veins and bones to streets and cables, from trees and plants to nervous systems,
and plenty more. None of these elements of life are meant to be represented in
the drawings, but they may emerge by pure and magical coincidence by the line
work.
Because they display a considerable
large amount of information due to their intricate way of being, they can be
called COMPLEXITIES. These complexities are developing explorations on
ways of expressing line art work, and they have been categorized as styles
according to the artist. Up to this moment, these styles encompass from
oneliners, geometricals, grids, and abstract pointillisms to scribblers,
doodlers, scupltural drawings and a mixture of them as can be seen on my website https://lutpar.com/
COROLLARY
These transparent phantoms in the mind of
the artist probably haunted him while he
was very little. Yet, he couldn’t find a
way to let them out until late in his life when he found ART, just when he
realized it was too late to STUDY ART. So, he makes his art as he learns ART on
his own terms.
However, what are these, again??? but ideas in his
head , ideas from his head, entities that inhabit his entrails, that dictate what they are through the movements of his hands while all of a
sudden the structure visually takes over reality, and the artist is there at the precipice of a blank page, just like Mallarmé, but drawing. And the
process of creation begins like a visual game which is becoming increasingly
ellaborated and experimental. In the midst of all of this, the artist feels
that he has become a MicroGod who is the
best student of Himself.
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