De la guerra - Limited Edition of 5 Print

Since my initial stages as an artist, in the mid nineties, I focused on ornamental arts and their influence in the development of twentieth-century abstract art. Decorative art was born many centuries before representation art, and through rhythm, symmetry and patterns, moral, social and religious views were conveyed. Aesthetic functionalism resumed old debates around ornament as artifice, but for some time we have acknowledged these manifestations with their own justifications and references. I am currently engaged on notions associated to fractal geometry proposed by Mandelbrot; they are the basis for the works I am developing. Even though they are defined by responding to the “self-similarity” principle, that is, each part contains the seed to recreate the whole, differences from the original arise with each increasing level. Since Antiquity we humans have linked the beauty and sacrality of some forms of Art and Architecture to Fractals; physicist Richard Taylor even found a connection to Jackson Pollock’s art. Fractals introduce chaos, they contain noise and order. When our minds recognize a pattern we focus on it as if it were a thing, we try to find patterns we consider beautiful, but in order to hold them in our minds we must set aside the rest of the fractal; in order to understand them we restrict their movement, we try to recognize a language that allows restorers to complete a piece by extrapolation. Our perception operates as a relationship between microcosm and macrocosm. Among the world of waves and the world of things, we restrict it and, concurrently, we give existence to it. The production for my works begins with a “prototype” made with beads, brass cases or different warlike materials used as embroidery. Referring to the artisanal tradition usually attributed to women, I scan these motives, and I combine and transform them with the computer.