One of the most relevant themes in the history of art has been the study of space. Great revolutions have been achieved, such as the discovery of perspective, which allowed representation in three linear dimensions, surpassing a medieval universe of only two dimensions. At the end of the 19th century and the beginning of the 20th, a moment when art abandoned the mimesis of nature, physicists conceived of a curved universe and the avant-garde movements took on the task of introducing the concept of the fourth dimension: space–time, into modern art. String theory in physics proposes that space may have ten, eleven, or twenty-six additional dimensions.
One of the most relevant themes in the history of art has been the study of space. Great revolutions have been achieved, such as the discovery of perspective, which allowed representation in three linear dimensions, surpassing a medieval universe of only two dimensions. At the end of the 19th century and the beginning of the 20th, a moment when art abandoned the mimesis of nature, physicists conceived of a curved universe and the avant-garde movements took on the task of introducing the concept of the fourth dimension: space–time, into modern art. String theory in physics proposes that space may have ten, eleven, or twenty-six additional dimensions.
Given this conjecture, imagining the inclusion of other dimensions in a two-dimensional medium such as painting represents a fascinating challenge, both for what we understand and for what we do not. Complex cities have been generated using the cube as a matrix. It is from this perspective that the curve acquires relevant meaning, since it is often associated with the concept of the future. This association can be observed in the development of the automotive industry, the aerospace industry, or in contemporary architecture. The curve is the minimal essence of vibration, the natural state of space. The manipulation of the straight line allows us to free the boundaries of objects and concepts.
My proposal emerges from the practice of painting, reflecting on the balance of geometry in a multidimensional space that contracts and expands. I seek to reconcile rational linear structures with curved organic forms. Each fragment is an oil study using the palette of Titanium White, Ivory Black, and Van Dyck Brown.
The exhibition will open on Thursday, March 2 at 5:00 pm and will be open to the public until April 6, 2017.
Andrés Moreno Hoffmann
Artist