Pixel 2 Installation: An Approach to Immersion in Rematerialized Media-Art

Introduction

Pixel ² (pixel squared) Installation takes as reference the origin of digital-art, both in the title and the square shape of the different panels that compose itself. All of the same dimensions, these quadrangular panels are supported graphics compositions with the use of small quadrangular shapes (pixels). The represented images, not being noticeable when closely observed, take the viewer to move inside the sculptural set and seek to improve the position to observe, discover the materials and forms, experience and interact.

The installation was created in an approach to the aesthetics of post-digital (in a contemporary perspective, referring to a time when technology has become a common place and fully integrated in processes and objects), where creativity overlaps with technology, emerging a desire of blurring the boundaries between the tangible and the immaterial, always maintaining the aesthetic line based on the characteristics of the digital / computational. The digital / computational art is commonly associated with computational production, on the contrary, the post-digital defends the junction between manual, craft and logic and digital language (Openshaw, 2015).

In the Pixel² installation, we made a reflection about digital media art as a “…specialization of digital art in which the raw material base is the media or the digital media themselves and digital information where the creative emphasis is put (not exclusively) in the informational-communicational dimension of the artefact…” (Marcos, 2014).

This article is organized as follows: 1 - theoretical framework that allows to base the installation and sustain the reflection that gave rise to it, 2 - a description of the installation, followed by an analysis of the process of enjoyment and 3- we present the conclusions and bibliographical references.

Artists And Works

The Pixel² installation in respect to the graphical representation of the pixels takes as plastic base, some impressionists and his pointillist technique works like Seurat (The National Gallery, 2016), photograph of Eugène Chevreul (Costa, n.d.), and neo-plasticism’s works, such as Piet Mondrian (MOMA, 2016). As important reference works of Andy Warhol (TAWM, 2016), Magdalena (Abakanowicz, 2016) and Red Grooms (Artnet, 2016), the illusion game present in the work of C. Mauritis Esher (Escher, 2016), Anish Kapoor (Kappor, 2016), Felici Varini (Varini, 2016) and Lourdes de Castro (MCB, 2016). Quite so the influence of proto-interaction of avant garde artist works of the early twentieth century, Marinetti (Marinetti, 1921), Duchamp (MOMA, 2016) and Kiesler (Bogner, 2015).