I encourage you to have a seat and read this little âessayâ I wrote back in 2014 if you really want to understand what Iâm doing today. I would be really grateful and Iâm sure youâll have a much better understanding of my whole work.
On the way to space and public art | came across the digital walls. They can be âpaintedâ but they also have the function of limiting, of delimiting, of separatingâŠ
A change of paradigm has been happening for some years now with the arrival of the internet, which has completely changed some aspects and concepts that have to do with the world of art and more specifically with urban art or public art. From the beginning, this type of art has been carried out in public places with the aim of being observed by anyone on the street and thus making it free, accessible and free from any premise or institution when it is created. (not considering the âwarlike coexistenceâ with the advertising).
The appearance of the Internet has changed it. A vast majority of the art is seen online on a screen, what questions that the street is the natural canvas of this art discipline. While it is for the one who creates the piece, it is almost never for the one who looks at it. Public spaces are no longer just physical, in the same way that the plastic arts are no longer just plastic.
Due to the access to technology and its cheapness, nowadays it is inconceivable to think of art without considering the whole digital sphere, whether as a tool, a method of creation or of dissemination. But at the same time, all these centuries of art history condition the understanding of art, sometimes acting as a burden in terms of understanding what art is.
The dragging of already preconceived ideas and the weight of the genetic inheritance makes us repeat concepts about what art is and was. In the face of such a rapid change of paradigm, it seems that we find it difficult to understand that this whole new digital world is still the world. Both virtual and augmented reality are also reality, but the fact that it is appreciated through a screen sometimes causes it not to be considered as something artistic or even real. Thinking that way we could say that looking at a piece of art on the Internet does not have its complete experience, since we are not seeing it in the place for which it was devised, and neither are we perceiving it in a direct way, but with a screen as an intermediary. But at the same time, I think about all the content that we consume today with these devices - movies, series, photographs, news, and even art, current and classic - and not because of that we think or say that they are unreal.
At this point, where the analog space merges with the digital space, a new artistic expression is born that is entirely digital, where the final piece is born and ends up in the digital realm. Conceived through digital tools and deposited in the public digital space. These pieces of art suggest skipping the step of "existingâ first in the âreal realityâ to reach directly the virtual reality, which is also reality, and once from there, to have an impact on the analog reality.
It would also be curious to reflect on the parallelism between urban art and digital art, since, being in public places, both are susceptible to being stolen, altered or appropriated by other people for different purposes. And also, on the idea of anonymity, always used by urban artists to be able to work in the street without risk of infringement, and now also used in the digital environment. Either by often using copyrighted content that we find on the web (street 2.0) for an artistic purpose or by the âerosion of sharingâ in which at some point someone does not credit the work, but it is still shared. In this case there should be a new word to define those people that everybody knows, but nobody knows who they are. âFamonimousâ characters or the concept of âfamonimityâ; people or artists who are known precisely because they are anonymous.
Since the beginnings of urban art, the idea was to use public space to express oneself freely, but we must bear in mind that public space is nothing more than the remainder of the space divided by the private, the âleftoversâ after the developers pass, the worthless places left open to the common people by institutions, etc., etcâŠ.. With the change of social, technological and artistic paradigm, urban art has been normalized and is now used as a method of decoration of places in poor condition, as a complement to a public road or simply as a means of open artistic expression as it has always been. Because if the initial objective was to make art accessible, direct and open to everyone, that idea has moved to the internet and, in some ways, the radical idea of urban art would no longer have that sense.
Therefore, if we understand urban or public art as a type of art accessible to everyone, free of charge and without any kind of condition, | believe that digital art fulfils this role today, since it inhabits all public places, whether analog or digital. Urban art needs this digital sphere to be able to expand and be visible. Because nowadays most urban art is seen through screens, not in the place where the piece has been created, which makes all these works more accessible to everyone at any time. And so, the âparadox of the graffiti artistâ is born, the one who expresses his freedom in the walls that imprison him. These walls generate private spaces and what is outside them is considered public space by the mere fact of being spaces where people pass through. But it does not mean that this public space is open to intervention. Every public space is under the supervision of a privative entity, whether it is a municipality, a company or simply, the property of an individual. Public space does not exist, neither in the âreal realityâ, nor in the virtual one. It is always subject to something superior that manages it.
Within this dilemma, augmented reality becomes another alternative to the path of public art. It gives the possibility of creating art in public spaces, only seen on digital devices, and using the âreal realityâ as the pieceâs canvas. Until recently, photography and/or video were methods of capturing reality. Now, with this change of prism, these disciplines moved from being the purpose itself, to becoming raw material for the creation of other new artistic expressions. In this direction, | want to focus on the gif format. This format is strictly digital, so it gives us the option to edit, to add movement to pieces that, before, condemned to live still. We can spread in on the Internet and make it accessible to everyone at any time. When adding augmented reality, the two concepts intertwine, urban/public art and digital art, what gives rise to new artistic expressions that call into question deep rooted concepts such as museum, art and reality.
There are already many centuries researching, testing and creating the same type of art, whether sculpture, paintingâŠ. Except for the birth of new âismsâ within these disciplines, it gives the impression that they are exhausted. At this point it would be convenient to think about the idea of unique work, copy, forgery, recreation⊠Thinking about the evolution of art we must consider that all new progress is born of the technological options that occur in each era. Nowadays, the difference is that progress happens every day, very fast, and it seems that it is difficult (or unwilling) to understand this change because of the speed of it. This cultural and genetic heritage blurs our vision and sometimes prevents us from conceiving new artistic expressions as such, since there are no previous references to support them.
But, at the end of the day, every new artistic expression, in its beginnings, was not art. âScience develops ideas that come from art that is inspired by science.â The world of classical art enjoys an aura of untouchable deity because when we are born it has always been there, but we cannot forget to think for a moment with perspective that all this classical art was created mainly by the entities of power of each era: kings, church, political powersâŠ
This is why today (without underestimating the technique and the work of the artists) these types of classical art enjoy an invulnerability as, in the end, it was created by and for the power itself.
Then, this type of art collides with the urban and/or public art, along with digital art. In the public and digital space those who decide what is "artâ are the people.
I am sure that the first Cro-Magnon who used a tuft of horse hairs instead of his own hands to paint was seen as an art/magic/belief apath.
Now we live in a new paradigm shift, but in this case it is not local or national, it is global and immediate.
