Geodesic painting Painting

I discovered the work of Roman Opalka in 2004, when I visited the permanent collection of the Pompidou Center in Paris. The power of his Details left in my soul an indelible emotion. The process of artmaking got for eternity anchored in my unconscious. This experience inspired my geodesic paintings, visual art research project that I see as an integral body of work to pursue the rest of my life. Geodesic painting is the geometric representation of the straight line, the shortest path between two points in a given space. It is the visual embodiment of geodesic paths created by freefalling paint. The effect of gravitation and the inertial of the white canvas act upon the aerodynamic motion of the liquid color. In this way, I strive to use universal forces as a brush and to remove the subjectivity of the artist from the creative process. Color in its liquid form is compressed into a series of reciprocating chambers and loaded to a metallic painting mechanism hung to the wall. The frame aligns a total of 30 paint containers. A canvas is installed a few centimeters below. The act of painting is mechanically generated by intense linear pressure applied to the system of chambers, which allows the controlled release of color. A film captures the creative process of the universal laws in real time and abandons the spectators to follow the flow of color from point zero to the surface of visible reality. The result is a series of 104 one dimensional straight lines created in space time by the force of gravity. Each colored line represents the shortest path between the canvas and the center of earth. Geodesic painting makes reference to Albert Einstein’s general principle of relativity and to the octave of Isaac Newton. Geodesic painting uses color, the most persistent quality in nature, to visualize universal laws. My research on color follows a rigorous analytical protocol. Each layer is mixed by hand following a mathematical formula to assure gradual gain of luminosity. This is what Leonardo da Vinci called chiaroscuro and what Albert Henry Munsell called the tridimensionality of color. Contemporary screen engineers use this mathematical chromatic procedure to assure faithful reproduction of luminance and chrominance in digital screens. During a time in history that a global health crisis imposes gentrification towards digital screens as alternative platforms of reality, my paintings questions today’s unregulated hyper digitalism.

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:17.9 W x 17.9 H x 1.4 D in

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