animating abstraction, reimaging representation: monika bravo\s vector paintings put visual consciou

animating abstraction, reimaging representation: monika bravo\'s vector paintings put visual consciousness in hi-res perspective

by:XY Screens     2020-02-29
This is part 6 of the series, 3D-
The physical nature of art, a tracking height-
3D spectacle of the body, narrative art and activism.
The new 3D artists are made by artists who are away from the commercial use of 3D in movies, TV, advertising and games, and they use the same technology as the commercial industry.
The difference is 3D.
Materialistic artists extend the intangible value and strategy of conceptual art to digital imaging, narrative, myth, irony and paradigm that promote current and future progress and sustainable politics,
The series\'s former Huffington Post features include a new generation of painting structural elements for Claudia Hart, Kurt huntschleger, Matthew Weinstein, and Jonathan Monahan\'s 3D art in an article in related articles, in a particularly globalized feminist context, digital art is included in molesine alawahai.
Monica Bravo, admission ticket 05,06, 2017, media player, projector, SD card 1:37, installation drawing, planned by Johannes Vogt Gallery, New York, Octavia Zaya,©Mali Giuliano
Most of the works discussed in this article can be viewed at the Johannes Vogt Gallery in New York until February 26, 2017.
The medium of art or self is rare
Reflecting on its structure, its operation, its influence on the audience, assuming a visual strategy that is basically abstract and process-oriented, also focuses on its own historicity, it has its own painting performance ability, and also has its own reconciliation of ideological opposition to fierce defense.
But these are just some of the contradictions brought about by Monika Bravo\'s abstract vector art. representation. Yes, abstract-
The statement sounds like a non-sequel, but the works exhibited by Bravo at the Johannes Vogt Gallery in Lower East Side of Manhattan focus on this opposing settlement as the main philosophy of vector art.
Even the passage from the street into the wog Gallery has produced a powerful epiphany of the idea of opposing relations in dialectical relations, transcending the times but resisting the new order, in which case, the ongoing, possibly irreconcilable conflict between rising cultural relatianism and political Orthodox hinders the development of relatianism.
Because after arriving at the gallery location near the junction of Chrystie Street and the canal, my attention had to be drawn to the opposite side of the street by the entrance to the huge yawn of the Manhattan Bridge, where it sat, like the huge lion figure of modern American engineering, it is a kind of defense.
As my eyes tracked the bridge up to the continental United States, the island of Manhattan was still culturally and aesthetically indifferent, and I realized the Colombian immigrant Bravoturned-
Citizens, introducing her art in a sanctuary city that is more adapted to global history and culture, rather than the static localism of the continental United States, especially in Trump\'s-
America of relativity
But since this series of work by Bravo is basically non-political, I am grateful to have escaped the dark clouds that have shrouded the country and participated in meditation, thinking about what new and ancient media can tell us is time and awareness.
In the gallery, digital, seemingly-
The abstract animated painting of Monika Bravo and the inspiration planning of Octavia Zaya tell me about the important new direction of painting.
Should we call video painting? Definitely.
In the 1960 and 1970 s, Dan Flavin, Marian Zazeela and James Turell made light an important part of the form of painting and sculpture.
After all, we do not call it \"painting\", which is the skin of traditional painting.
Painting is an optical art. the color of light itself is the advantage of painting.
But animation is more abstract than just the revival of painting.
This is a true and ironic abstraction (
And a pair of opposites)
It is considered to be an important part of structure and language, which stems from the negotiation of abstraction and representation updated in the era of vector imaging.
By understanding that abstraction and representation are both sides of the same coin, we also understand that abstraction is not just a modern or western invention, but, it is a universal cognitive process, since the emergence of human consciousness, it promotes the evolution of language, vision, and material expression.
In this larger abstraction/representation sense, as things that change interactively in all meaningful structures, we cannot fall into the geometric abstraction of the style accessed by Bravo.
Monika Bravo, left: Tesserae 05,06, 2017, media player, projector, SD card 1:37.
Center: 15 minutes for Tesserae 01, 2017, vertical 70-inch display, plexiglass, masking tape, wood, paint, media player, SD card.
Right: Tesserae 04, wood, paint.
Installation diagram, planned by Johannes Vogt Gallery, Octavia Zaya, New York,©Mali Giuliano
Yes, the \"visit\" is one of the central objectives of this series of work, because the relatianism of Bravo is nomadic in terms of the paradigm of temporary residence, rather than being permanently integrated as a necessary condition for mediation of life or thought.
This is a nomadic relatianism, and when the work is installed around the space, Bravo and Zaya instinctively keep in mind this open projection of anatomy and surround the space.
Zaya explained the fundamentals of his installation scheme: \"In the center of five monitors, three projectors and sound, the audience experienced a super
Rhythmic sensory stimulation
In this state of activation, on the one hand, Bravo superimposes layers on the LCD screen to help us enter a new cognition in which perception is mediated between real and virtual.
Another set of predictions, on the other hand, will run counter to the experience: the bursting of tile patterns, capturing the cover with Google\'s Earth images, will beat in the room as a fictional musical score silent beat.
\"In these projections, the abstract patterns that we can identify from art history or design are superimposed on large-
Zoom through Google Images to access images of nature and civilization.
In order not to fall into a historic debate (
Period, style, creativity or lack)
It is secondary, in any case, that in the past century Bravo has died, and it neither cares to modify the geometric abstraction as a nostalgic metaphor, as an avid historist, nor did she, as Peter Harley and Philip taffy did in the 1980 s and 1990 s, imitate historicism to criticize the era of abstract indifference to cultural unrest.
Most importantly, she rejected the scathing authoritarian critics whose \"painting is dead\" mantra excluded the exploration of current artists from abstract art, like \"zombie abstraction\"
If the Vogt Gallery serae installation has many historical aspects, this is because Bravo\'s digital art investigates the full visual language shared by painting and electronic screens to convey the broadest time
The traditional pattern of formalism abstraction and image representation can be combined with the new media while producing a unique reflection symbol and imaging method.
Even the title of the work, Tesserae, meaning mosaic, conveys a process through which a literal idea or realistic image of the great macro world consists of some pictures of many micro-worlds.
The first video on this page, Tesserae 05,06, shows the continuity between the abstract visual process and the expression of the image, which is the explicit product of the formto-structure-
Visual Language-to signage.
The two subsequent videos Tesserae 02 and Tesserae 03 & 04 mainly show the familiar hard-
The edge geometric abstractions accessed by animated images are so carefully integrated into abstract lines that they seem to be abstractions themselves at first glance.
Planned by Monika Bravo, Tesserae 02,207, diptych, 2 vertical 70-inch displays, plexiglass, masking tape, wood, paint, media player New York, Octavia Zaya,©Mali Giuliano
This is where Bravo and Zaya end the exhibition.
But I include an extra job here, Urumqi (Weaving Time)
2014, presented in two early installations at the Bard Graduate Center and the Christie\'s gallery, highlighting the extent to which Bravo\'s understanding of abstraction affects the essential components of painting performance ---
It even includes what we call realism. (
In fact, the early days of this work mean that Bravo must first clearly develop a plan for overall development.
Mature Imagism, full of impressive accent signs, from the smallest vector arrangement, gives her confidence in showing the same symbol evolution, from abstraction to picture signs, more subtle and subtle differences in Tesserae.
Tesserae\'s work only describes the short and recent cross-sections of evolution from abstraction to Post-Evolution
Abstract picture making.
But in doing so, Bravo and Zaya cite a variety of issues that have been paying attention to since painting became a self.
Reference exercises at the end of the 19 th-century.
All these styles, methods, techniques, ideology-
Even though they have similar bloodlines-
Create new digital pedigree for vector media and 3D animation.
As a composite medium that integrates motion time, Bravo and her peers in vector animation think that they have inherited art history, just as they have inherited photography and film photography.
They do come closest to realizing that Flaubert 1852 thinks that art will one day \"take the middle place between algebra and Music \".
Today\'s 3D artist, of course, is Cezanne\'s leighes, and every stroke of his pen in a picture represents a unique and different perception of the space world, the world is completely different from the one whose intelligence is summed up as duration.
They also inherited the lessons of Cubism established by Picasso and Bulak, their saving time by drawing a continuous view of characters or scenes from any number of perspective points in a picture(
After Cubism, surrealist photographers use multiple exposures to do the same. )
Monika Bravo, left: Tesserae 02,207, diptych, 2 vertical 70-inch displays, plexiglass, masking tape, wood, paint, media player, SD card 15 minutes
Right: Tesserae 03, 2017, diptych, 1 horizontal, 1 vertical 70-inch display, plexiglass, masking tape, wood, paint, media player, SD card 1:37.
Installation diagram, planned by Johannes Vogt Gallery, Octavia Zaya, New York,©Mali Giuliano
These are just the most famous art history cases that forced Bravo to turn to this century.
The old theory of time summarized by metaphysical Henry Bergson.
Just as Cezanne isolated the time of each brush stroke, Bergson believes that the time we know through experience is different in quantity from time, because we understand intellectually that time includes both moments in life and the entire time of our lives.
Bergson explained that the illusion of moments and the illusion of the whole are just abstract concepts, and it does not tell us the duration of the time we experience as a continuity within the beginning and end brackets.
Bergson understood that art changed our view of time, so that we no longer regard time as absolute. from the perspective of time, time is composed of the support part of our memory, we call it duration.
More generally, after the film Lumiere, the film represents a permanent change, and despite the media allowing replay, the importance of the fragility and early maturity of the film and the changing
Light, temperature, temperament)
It is never possible to render the same.
Together with Zaya, Bravo chose to integrate modern time lessons from Cezanne, Lumiere and Bergson in The Tesserae show.
They do this by arranging the shadows and interactions of the gallery audience into the installation, making the light of the central overhead projector more than just a medium.
When they improvise the spacing of shadows together to make the projected image Black, the light also works with those who visit the installation.
Bravo and Zaya pay tribute here to the performing arts heritage that grew directly from Pollock\'s action paintings-
Those artists, 1950 and 1960, think that they have actually broken through the framework of painting, photography and film, making their actions a feature of visual art in a timely manner.
In connection with this history, Bravo and Zaya see that we can never experience the installation just through photos and video documents, as posted here.
Instead, their intention is to complete the audiovisual-
Tactile atmosphere of paintingin-
Only by visiting the gallery itself can space be experienced.
One problem, however, is that, at least for impatient audiences, the vector drawing of Bravo invites them.
No one knows about vector practice today, and maybe not --
Proficient in the history of modern painting, may enter the Tesserae device (
Or entertainment)
Despite the video flashing, the color halo of the LCD screen is arranged around the space, and the shadow of the audience is related (
Not just obstacles.
The predicted three-dimensional cutting workshops, ceilings and walls, may fall into a review of formalisms Malevich, Kenting, Klee, Mondrian, Robert and Sonia Delauney, Reinhart, Newman, Dibenkorn, O\'Keefe, wait.
Or, they might call a different history, but the system\'s hard-
The geometric movement on the edge of Stiller, supremacist, constructivist, Bauhaus, minimalist, newGeo.
Such a historically skilled audience may rush to feel that there is nothing new here in terms of painting and going out.
Monica Bravo, 03 tickets and monthly food stamps, 2017, engraving board, monthly level, monthly vertical 70 \"display, plexiglass, American tape, wood, paint, media player, SD card 1:37, installation diagram, planned by Johannes Vogt Gallery, Octavia Zaya, New York,©Mali Giuliano
However, for informed vector enthusiasts, the Bravo installation is not only for (fairly)
New media, but visually
Even a cultural atmosphere. -
What digital art often lacks.
This temptation and the light ring have nothing to do with the recalled history, but instead the hypnotic resonance of the changes unfolding on each screen and the projection of the relativity of the mention release, even magnified by the fluidity and superb technology of vector graphics, in a single composition, this can at the same time imply the legacy of modernist hard inventions --
Edge abstraction and history as a scientific invention-two-and three-
The view of the Renaissance.
Using or viewing vectors alone makes the artist or audience inclined to historicism, because vectors were invented from the perspective of being an art and building tool.
There is also the feeling that the training in vector imaging, like the training in perspective, makes us tend to be relativist.
William M discovered this in 1938. Ivins, Jr.
Then was the curator of prints and paintings at the Metropolitan Museum of New York when he wrote that without an understanding of the changing perspective in the eyes, Einstein\'s idea of relativity would most likely not be assumed.
The Tesserae show is more sure than any of her past exhibitions that the Bravo has a common agenda with the historicians.
But she also returned to the media Mirror about the media, re-contextualized the abstract course of modernism, and became our philosophy of the relationship between individualism and history and nature.
Even amateur historians can see the legacy of geometric abstraction in art in Tesserae\'s work, as well as the myriad changes in formalism criticizing argot.
Some languages have long been forgotten: the \"kinevisuality\" of critic Umbro Apollonio \"(
His name is Op Art);
Jacomo Barra\'s \"rainbow-colored interspersed\"
\"Celebrity\" by Larinva and Goncharva \".
However, the images of these artists cite the linear and overlapping of Hans Richter, Sophie taeber --
EPP, Frank Kupka, El licitzki, diben Cohen.
The early works of Urumqi Bravo (Weaving Time)
On display in Christies West, New York in 2015, although on the surface it represents the circuit board, but on the other hand, recalling the rhythmic and highly regulated grid of yaaov Agam or Carls Cruz Diez in the intricate and relativist optical illusion article, this visual movement is accompanied by the eyes.
Nothing is a visual illusion in Bravo.
All of this is simple vector graphics, movie cameras, and Google Images.
Sun exposure, rayogram and other Surrealist techniques seem to be working, but none.
This is the vector that is programmed for the effect, and often happens by accident in the early work in the paint and optics fields.
I asked Bravo if she was interested in rephrasing the modern with any specific formula of the 3D particle system, such as volumetric sampling, caustics, underground scattering, or any particular program, technology or equipment
She replied, \"My process?
I use a computer, but this is a purely painting process.
Instead of using a programming script to execute each part, I implement manual execution within the computer framework.
I create a method or system in my mind, then do it by hand first, then by combining two programs: create illustrator for the vector, then execute after the effect, this allows me to create sports with my hands.
I chose to use the computer to still simulate manual operations, which is what I think renders substantial for 1 and 0.
\"I came from the idea of painting, and I wanted to keep the realm of painting by using time as material, while asking, what is the screen?
What is the wall?
Who decides the shape or position?
What is the limit for each?
Of course, the biggest question is, with the help of computers, can painting become a medium for reinventing itself?
Monika Bravo in Urumqi (Weaving Time)
, 4 channel projection, projector media player.
Installation view of \"waterwea: Rivers in contemporary Colombian visual and material culture\" held at the Bard Graduate Center on April
Planned by Jose Rowe in August 2014©Juan Luke
On May 23, the exhibition \"Columbia narrative: contemporary Columbia art project\" at Christie\'s Western Gallery reinstalled the deviceJuly 31, 2015.
Bravo makes it clear that, from a variety of perspectives, the remodelling of painting as a 3D medium and consciousness is central, and one of them is that it deviates from art history, depicting the origin of vector parameters in heritage, these parameters inform her work both structurally and in the history of consciousness.
\"I have left Sonia in a quick Google Video.
This is after I refer to the color inspiration of urumey in Urumqi, a 2014 series Glass study on weaving time.
I have also been influenced by Malevich, and I am curious that so many early modernists are somehow related to the divine, intangible, non-
Although history denies the spiritual component of art, it confuses it with religion.
Since I remember, I have been a very spiritual child, which contains all the beautiful and terrible connotations that connect us.
\"One of the smaller pieces in the Bravo Gallery office is a Malevich-
Like the composition on the 24 \"x 36\" screen, it can be viewed hand-held from different angles.
It\'s a job, when we turn to it, let\'s look at it from the is side and let\'s realize that we rarely see a painting or a painting that is not positive if there is one,at 90 degrees)
We see only one surface line.
Because of the streaming movement, like the video, is much better than 1960 of the original kinetic art in terms of fluency and subtlety of movement, and bravo\'s work evokes the film process in her work, not only the screen, but the same is true of her use of parallelogram and of the drawing movement defined by the convergence and divergence lines that draw the perspective into time photography.
Bravo believes that the painting of her screen version is the programming version of the memory, while the interruption, separation and \"splicing\" of the memory \"(
Use outdated film technology as a legacy, not a process)
Expand her media vocabulary to painting images and symbols, as well as the fusion of painting, film and video.
The Bravo Media equation around the installation space (
Painting animation video sculpture performance space)
Adding up is a visual article about consciousness, but it also includes contradictions and conflicts brought about by different consciousness when people from different backgrounds come together, just as she personally did as immigrants, realize in pain.
That is why different techniques in her work not only promulgated, but also emphasized disjointed and non-continuity.
In the intersecting lines and overlapping shapes, the hard edges and simulated strokes, the washing of imitation, and even the vector effects of the sfumato and scumbling of the painting, all have photo
The generated water rippled in the pool, the rain fell on the leaves, and the light penetrated through the bushes, reflecting a thriving picture of life.
Or some unspoiled terrain gradually enters the bird views map in the center of the city, and the concrete gives way to Florida.
The separation in these groupings is the operation that Bravo likes to associate with the non-continuity of mental division.
Usually, I object to the formalism disconnect in art that is called spiritual division, because when art is primarily a choice, spiritual division is a destructive choice.
But this time, one month after I finished writing Agnes Martin\'s grid painting, this description appeared in front of me, depicting a continuity, it became an artist who had been bothering her for decades to escape her spiritual division.
In contrast, Bravo depicts an entrance to the tentative and uncertain nature of the crisis of spiritual division, if only to experience the destruction caused by the constant acceptance and understanding of the visual language, we will understand how the abstract in mental imagination provides the cement needed for an effective life.
Similarly, in the art of Bravo, abstraction is a cement that can simulate our experience of the world and reality together, like building blocks --in-time.
Artistic Historical influences, citations and analogs: Kazimir Malevich, supremacist, 1916, oll on canvas.
Sonia Delauney, Untitled, 1947, gouache, colored crayons and pencils on paper.
Ocean Park No. 79, 1975, canvas oil painting.
Peter Harley, rogue, acrylic, rolla-
Tex/canvas, 1986
\"In Western tradition, time is linear,\" added Bravo . \".
\"It creates a sense of expectation and narrative that has been established in the history of writing and film production, in which, it is expected that some people will be confused again with revelation.
All information within this time frame is moved in a permanent straight line.
Eastern traditions observe time and they follow nature: unless the mind chooses to stop the river, the river does not stop flowing between nations.
\"By the way, this is the connection to Google pictures, and this is the personal note on how the machine devours me.
I show nature in time.
Recently, my image came from the drone, which is beating so fast.
\"When I asked Bravo what she got from the film, she quoted the most attractive work of the recent film director.
Greenway tried to explain the relationship and distinction between film and painting in the 1990s s, when he was cutting and pasting elements into his frame.
I saw in The Pillow Book that he interfered with the screen by creating a screen on the screen.
This made me stop and ask what the screen, frame, and format are defined.
I\'m still there to go beyond the screen, outside of the idea of machines, media, drawings, walls, colors, structures, and processes. As in the Tao.
You can\'t say the name of the debut.
A painting cannot be defined.
When you try to define it, it is no longer what it is, it will move you, it will connect on other levels, both rational and perceptual, most of the time
Monika Bravo in Urumqi (Weaving Time)
Channel monitoring media player.
Bravo foresaw the Tesserae series while reading The Pillow Book, although it is not so much a mosaic as an external skin.
\"Whether it\'s paint or a screen, this medium is like the skin of the body, a container.
When we define it too much, it loses its magic.
I just use and intervene beyond the established, intended space, because my goal is to create an experience that others can bring to other places.
Thus, Greenway again tries to paint the difference between this relationship, film and painting.
When I saw this in the 1990s, I knew I was on the right path and I just needed to create my own language to convey it.
\"Bravo created her own language.
But one of the disappointing things about the Tesserae series is that Bravo doesn\'t elaborate on image imaging as precisely, clearly and consistently as she gives abstract components.
Part of the reason is that Bravo relies on the rather bland, appropriate images provided by Google, rather than shooting or simulating objects as rich as abstract video, or as a reminder of the power of image symbols in her 2014 works Urumqi (Weaving Time)
, A 4-channel projection seen in the fourth video here, with a brief resemblance to Hollis Frampton\'s 1966 structural masterpiece, Zorn\'s outer lemma, if
Bravo may make more profit by advancing another picture reality, rather than getting more suitable images in her upcoming work, one is designed by accessing her modeling and effects program, with the aim of developing a fully realistic scheme for blending abstract and expressive images.
Is this a picture of reality, or is it Sonia? It\'s both.
Bravo raised the graphic diamond cluster from the Moroccan and Portuguese tiles in Sonia de Laurene and vector them to aerial photos she obtained from Google Images, especially those
Projected serae 05,06, 2017, is expected to be at the johnneworth Gallery, New York. Listen to G.
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