Statement
As the brushstroke to the painting, or stroke
in drawing, cutting is a way of creation with rules and own senses. My plastic and visual task has been developed from the latter.
In the field of plastic materials with which i
work it requires special methods to alter it, from a simple cutter to a laser machine. Sheets of books, notebooks, magazines,
accumulated paper sheets , layers of paint, thick or thin papers, pottery, cartons, PET bottles or fruit, the universe of objects is vast and extensive
ways to alter them. As an artist the challenge is to push the boundaries of skills and abilities that the human body can translate.
Emotions and thoughts about the raw materials or objects
and events. And while this gesture contrasts with the advanced technology that displaces manual labor simplifying the time and human effort, it is also true that this can be harnessed to the needs of a contemporary creator, thus more than deny the technology
i take to build my own creative discourse.
In the visual field the topics vary from found objects and elected to alter them. In the case of books I’m interested as collective memory technology. Although the book has been transformed by digital technology still has some important advantages as printed product.
Each book as object stores a particular content, such as interior and
trim the leaves is to dig, so I like the idea that performed like a moth to book space for living ideas. This strategy layered cut’ve called cavismo.
A good part of my visual discourse has focused on subtra
cting the absence material for use as discourse and in this sense I attribute charts holes that produce shadows (chiaroscuro) layers cut qualities. The line occurs here under visual perception in the
absence of matter; in this formal process, the vacuum is presented as a key concept in the development of my proposals.
Unlike traditional painting and drawing cutting subtracts and adds more to the object or material, this is a clear and purposeful difference cut through this gesture on the subject new discourses are constructed.
This subtraction is an answer to my contemporary setting and burrs: information, power, noise, etc. Use this action for his critical sense and versatility to generate dialogues between natural dualities (sound/silence, matter / vacuum, light / dark, etc.) And social (music / noise austerity /consumerism, inequality / equality, industry / handcraft,etc.) to highlight the disproportions, these excesses and absurdities current.
The cut has also allowed me to link activities of craft production as appropriation and redefinition of art and objects. Thus the study of basketry has enabled me to combine harvesting leaves of books as a substitute for the plant material which is traditionally the baskets. Studying the art from the traditional
process has allowed me to discover new possibilities of thinking about art and objects created. Another craftsmanship linked to cut is the
cutting paper the particularity of this technique is the possibility of a technical reproduction of the work, as happens in the
engraving, unless a die plate but does not use a template from which I make 12 pieces, each with possibility of different color.
This linkage cutting and crafts, has enabled me to navigate in a sea of
very rich meanings with which I could realize the possibilities of formal and conceptual transformation, thus contributing to my new poetic research, materials, meanings and forms within of contemporary issues, work that I continue expanding.
Arian Dylan
