Tezos

David In Orense (v01) 2000

Creator

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Description

Victor: “This is the first released version of this metaphysical portrait of my older brother David Acevedo. He is rendered here in interactive apparitional engagement; in flux with a crystalized void-matrix cloud-cluster. ” The following is an excerpt from an essay called “Post-Operative Artwork” by art historian, Charlotte Louise Frost, August 2001 * In "David in Orense", the man in the image looks as though he is playing the structures as if they are a new, fantastical, musical instrument. It is thus impossible to take your eyes off the images because you enter into a perceptual exchange of attempting to understand bits of the image but never quite receiving an answer. Although all the elements seem familiar, they are out of place or exposed. Like a surgeon, you are unable to experience an integral whole, but only the parts of the image. Unlike the surgeon, you do not control the incision and become merely a witness to the attack. Like the magician, you notice a unity in the fusion of these two different worlds. The simultaneous appearance of structure and facade exposes the way we look at art. The futuristic structures, which seem both at odds with; and able to dominate the image, provide a visual metaphor for the structures which dominate our perceptions. The original image used in Acevedo’s works could represent the auratic original artwork, whilst the new structures that could develop the outmoded view of art are represented by the futuristic structures in the image. On the other hand, the way the structures dominate the image and confuse us could represent how the structures of auratic discourse get in the way of new experience by dominating our modes of art reception. The junction we currently occupy, where the notion of aura still affects our view of even non-auratic art, is visually described by the futuristic elements repeating the familiar. Here however, this happens firstly because the futuristic structures resemble scaffolds or molecules, secondly because they literally reflect the room within their spheres, and thirdly because the room reflects them; in A Glass of Wine with Harry the pattern on the carpet replicates the geometrical design. The multifaceted appearance of the piece means we constantly must cut our own train of thought and recreate and apply a new one to the fragments before us. Although we are used to special effects in films, and often do not care whether the image before us is real or created, the stillness of these images, and the dichotomy of fusion and lack thereof raises questions, ‘…as (Steven) Spielberg put it - digital effects operate most powerfully when you do not know they are there.’ Here however the effects simultaneously emerge and retreat.” * “Post Operative Artwork” was reprinted with the permission of Ms. Frost in the book called ACEVEDO in Context: Analog Media 1977-1987 • Digital Media 1983-2020. Published by Acevedomedia, November 2022. It is part of a larger thesis called “Power to the Pixels: The Dissemination and Reformation of the Auratic Artwork in the Age of Digital Reproduction”, 2001. Amazon Kindle Books https://tinyurl.com/2zsnd38n HW: Mac G3. Silicon Graphics IRIS workstation SW: Softimage 3D, Adobe Photoshop Digital image: PNG file format, 2589 x 2160 pixels