Fenómenos y sistemas simpoiéticos: naturaleza y gráfica (de campo expandido). Los estados intermedios de la materialidad en la obra de Tracy Hill, Enrique Leal y Pia Gazzola
[EN] Our perception of the environment originates from the subjective reaction of the individual to the material and conceptual tensions within its elements. By understanding physical phenomena as autonomous events, we can propose the figure of the artist as a translator or interpreter of reality. T...
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| Formato: | artículo |
| Fecha de publicación: | 2025 |
| País: | España |
| Recursos: | Universidad de Barcelona (UB) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/220987 |
| Acesso em linha: | https://riunet.upv.es/handle/10251/220987 |
| Access Level: | acceso abierto |
| Palavra-chave: | Expanded Field Graphics Art and Science Phenomenology Somaesthetics Art Criticism Sympoietic systems Gráfica de campo expandido Sistemas simpoiéticos Arte y ciencia Fenomenología Somaestética Crítica de arte |
| Resumo: | [EN] Our perception of the environment originates from the subjective reaction of the individual to the material and conceptual tensions within its elements. By understanding physical phenomena as autonomous events, we can propose the figure of the artist as a translator or interpreter of reality. This paper examines how three contemporary artists offer a sensitive reading of natural phenomena such as light, water, sound, time, and climate. Using various methodologies, they capture the intermediate states of matter and its inherent behaviors, occasionally drawing upon scientific processes and explanations. In this sense, the selected artists draw from empirical explanations of reality to create a poetic cohesion with the natural world. The works and artistic practices analyzed in this study belong to Tracy Hill, Pia Gazzola, and Enrique Leal. The technical and artistic analysis of these pieces reveals how the effects of climate and time on matter enter into a process of co-creation with the artist. Phenomena are treated as free entities interconnected with each other and the subject, leading to the concept of sympoiesis (Haraway, 2016), which views matter as a communal subject. This study uses the methodological, formal, and conceptual associations between the selected works and sympoietic systems to explore the possible interpretation and relationship between expanded graphic art and collectively generated systems. Moving beyond the scientific notion underlying sympoiesis, these works appeal to the sensitive dimension of reality, showcasing its intrinsic interconnectivity and interdisciplinarity. Through a somaesthetic (Shusterman, 2012) approach and sensory interpretation of the world via these pieces, this study challenges the authorship of the creative process and reevaluates the act of creation. The analysis demonstrates how these works operate in the intermediate space between a referent and its process of capture, employing the concept of trace or record, which is highly prevalent in graphic art. In conclusion, the transfer of information between the conceptual and physical dimensions through uncontrolled processes gives prominence to matter and its transformation. The creative process becomes the shaper of meaning, allowing us to experience everyday ephemerality and enhancing our plastic perception of the environment within the context of expanded field graphic art. |
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