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work winner of the young women talent category: digital art, 2017 city of Medellin Colombia.

We live and move in an extensive network of relationships that interconnect in diverse and varied ways that can have consequences beyond the realm of what we commonly assume. Possibly this is the introduction to postmodernism, it is the great issue of contemporary aesthetics, its central problem is; the organization of the multiple, the relations predominate over the objects, the passage over the presence, the route over the stations, the form tends to segregate stories, between the organization of the multiple and the proliferating connections due to the network and the computer revolution . It is proposed to outline the union of technological sciences with art as a dynamic language and contemporary trend, since the same aesthetic and materialization of art has been disrupted by this postmodern phenomenon, since we are talking about postproduction, remastering, the appropriation and the meme as a cultural event of globality where nothing is unique, the images are of public use and knowledge and in turn the distance between the subject and society is observed, a crisis of anxieties and fears in front of the other and in front of it subject. This is a retrospective of a chaotic and murky present where man more than ever feels desolate and lost. Is it then a repetition of the beginnings to the cities? Or do we live in the metropolis of Osamu Tezuk, Huxley's Happy World, or is it just a bigger dystopia, a reality that hits man and immerses him before his own invention?


Do we drift uncontrollably against reality or is it just a result of previous events that today predicted our way of acting, thinking and feeling.


Today demands to see the world in a dynamic way, taking into account the interdisciplinary and various factors that affect the phenomena. Dynamism is one of the principles of postmodernism, one that unites complex systems to analyze phenomena from different perspectives. This is how the interest in entropy and understanding of social phenomena is generated in this text from the “hard” sciences, eliminating the gap between these specialties, to propose a panoramic view of these expressions as a whole, a synapse and a feedback, a single organism.

This project began with the question for the individual and the same, raising the following questions: how to know who is one? Or what do I mean by art?

Honestly these are difficult questions for anyone, even for an artist, but to answer them you need observation and understanding of yourself, understanding from the entropy, the infinite ideas that leave us stunned and bewildered, because personally it is not possible to define in a single paragraph or book of who we really are.


We are thrown into existence without knowing what awaits us, because if we understood, we would never have jumped. Cowardice is great and there is nothing left but to attack reality with the impossible and deceive ourselves, take refuge in that ethereal world full of monsters, unreal spaces, dazzling beings and still non-existent forms where reason is absent. But we are unable to not be amazed by life because everything is new, nothing has been felt before, and we will never understand it. We are not artists by desire, but by necessity. Art is the weapon before the existence between monotony and boredom.


Today more than ever we are tied to the past, lost and desolate in a world of smiles and appearances, with the fantasy that a like, heart or comment come as a facade with a subject, someone who comes to the rescue in this solitude, it is even more dangerous than that of modernity and the beginning of cities; we are more people in smaller and smaller spaces, more physically close but totally unknown in front of each other and in front of oneself, it is the world of hedonism, postproduction and the simulation of the subject, but inside more and more empty, more alone and confused of himself.


It is curious how among all this distancing of the subjects a new language is born, a language that begins to break languages, thanks to which the dream of L. Zamenhof (Esperanto) takes shape in something else; the virilized image in the meme and in an endless number of semiologies from the appropriation of the machine as a means of communication and an exhibition device of the new human.


I do not know if there is much to say as an artist, but in summary this same identity problem is interesting because of the massification and the amount of information that we carry today in our hands as an object of study and creation. Since under the framework of training as a professional in plastic arts, it is necessary to identify that the work of being an artist is intrinsically connected with the human being, with the aesthetic, visual and informative world. Understand that art is understood as any human activity or product for aesthetic, communicative or visionary purposes about the world, inherent in any space-time culture.


“Within great historical periods of time, the way and manner of their sensory perception are modified along with the entire existence of human collectivities. These ways and ways in which this perception is organized, the environment in which they occur, are conditioned not only naturally, but also historically. ”

Walter Benjamin

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