![]() These images, born of a semingly technical experiment in molecular projection, immediately awakened in me an unanticipated sense of the sacred. They are dynamic projections that invite the observer to move around in order to wholly grasp the mutations of light, which seem to cut “volumes” into space. The pictorial impact of the photon connotes a three-dimensional illusionary process, reconfiguring an “aesthetic” field, in all senses of the word, to one that engages our senses. In reality, what is revealed in her assemblages is not the absence of object-artifact in the transmission of culture as much as the recognition of a poetic potential of this holographic technique. Fotonica eternal mind full#The artist lies out of necessity, she creates the artificial that fools our senses with digital “volumes” of fluid objects destined for the oblivion she “paints” with photons of still life full of cultural significance that represent the semiotic and narrative structure of surfaces, that in the field of generative semiotics would have fascinated the likes of Julien Greimas, enchanted Magritte and Joseph Kosuth. They seem ectoplasmic apparitions, fluctuating in liquid space, fluid, as agile as our thoughts. They are artworks to see and not to recount that immobilize the representation of objects, which are like a sampling of cultural archeology images sculpted of light, extended in time and space. These vintage tools serve to preserve culture, removed from the oblivion of time they are anthropological artifacts inscribed as memories, and thus, they become symbolic of what we were, passing from one tool to another in telling the story of Time.ĭora Tass, an anthropologist of an all-containing light, utilizes a holographic technique that records 3D light, aiming towards inference, the perceptive optical illusion that gives “body” not to the object in itself, but to its representation. Elements such as typewriters, cameras, lenses, glasses, manifestos, newspapers, letters, and words are all included and serve as a medium of communication, history, and identity. Her assemblages of liquid images hypnotize, they provoke visual and cognitive short-circuits and are estranging upon recognition of the depiction of their suggestive objects. Each piece has different perspectives encrypted within it, which change based on where the viewer stands in relation to each piece. Her stratifications of luminous waves of pure photographic material, transparent like gelatin and of the most fluid colors, play tricks on the senses, destabilizing one’s perception. “Arbitrarity and Ambivalence of Holography and Absent Objects”ĭora Tass whose line of work consists of experimenting with luminous plasma material in fascinating holographic techniques, realizes weightless and three-dimensional “sculptures”. ![]() Tridimensional shapes of light pass over each other in and out the holographic glass plate, light is really tangible and experienced as an amazing material.ģD Holographic emulsion laminated in glass. Each artwork has different perspectives which change based on where the viewer stands in relation to each piece, creating a dinamic interaction with light. It is purely structured light, tangible and real. ![]() Holographic images are just like images of the real world, but without the material. The holographic light artworks are made in collaboration with the light artist August Muth in his lab. These vintage objects are removed from the oblivion of time dematerialized in light sculptures, in transition from the age of ‘Enlightenment” to the contemporary age of “Photon”. Elements such as typewriters, cameras, lenses, newspapers, ancient stone and words are the subjects matter, and serve to preserve culture as a medium of communication, history, and identity. “Archeology of the future”, is a cycle of Holographic Light Artworks assembled in glass plates, it is focused in Light as a tactile material. ![]()
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