Show at Trayecto Gallery, Vitoria (2003)
Show at the Science Museum, Lisbon (2002)
Art is the product of the human mind. Since pre-historical times man used tools, visions and concepts to create original forms. From the abstract symbols of the Palaeolithic caves, to recent contemporary mode, the essence of art has always been the creation of 'what it could be', as opposed to what exists. Art is thus a particular case of morphogenesis.
We can recognize art also in the products of nature. A spider web, a honeycomb or a shell pattern, reveals astonish designs. Mostly of them are, as we now begin to realize, the consequence of emergence and self-organization and can be translate into complex mathematics. Algorithms are at work everywhere.
Some of us, artists and scientists, believe it is possible and important to promote the interaction between aesthetical experience and biological mechanisms. Overcoming the subjective content of individual biases, to embrace complexity at the core of a new kind of man made art.
The Voronoi Paintings make use of a diagram coined after the Russian mathematician Georgy Voronoy (1868-1908). Voronoi represents the partition of a given space into cells. Each cell interacts directly to its neighbours and indirectly to all the space. The resulting design is thus dynamic and simulates a self-organized structure. In fact it looks and acts like a skin or a terrain, adapting to tensions, decay and expansion.
It constitutes an intriguing visual experience, because the correlation of shapes and colours implicitly suggest volumes, gradations and tensions.
Given the state of science and technology we can foresee a new paradigm for art based in life simulation. Art as life, not understood in the terms of the 60's humanist utopia, but rather 'art as life could be'. That means art as emergence, art as stigmergy and art as self-organization.
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