“With the arrival of virtual imaging, all that which seems to be one thing, is transformed into another.” In the other side of the mirror, Cajaraville searches for an ideal, albeit virtual, world for art. A world where infinite paths are possible, but also an illusion, as these same paths become barriers preventing us from escaping the mirage inscribed in the frame.
Espejismos offers us a short journey to the other side of the mirror, as in Lewis Carroll’s Alice in Wonderland. We are taken from the dimension of dreams to a virtual one, filled with primary colours and polygonal shapes, docile models under the rule of a computer programme. Different digital settings are concatenated rapidly, allegories of the art of the past, in which the real is replaced by algorithms. Representation is transformed into a tridimensional organisation where the author locates that which computer graphic tools allow her imagination to create. This is a space which is potentially under permanent construction, a space that goes beyond experiences, expectations and intuitions, because all that in it occurs, is already foreseen by the representation’s administrator.
Once ambiguity is expelled, all that is left is the result of a precise calculation, simple as well as inscrutable. Espejismos is a visual artifice, digitally configured and accompanied by laconic music, with which the author aims to evoke a surreal dimension. The search for utopia inside a subjective illusion evinces the frustration of freedom in the cyberworld, due to the power of the programme over the programmer, its structures and unknown mechanisms, which set the limits. Personal desires are thus conditioned according to to the 3D software available at the time.
This video, produced together with the Silicon Graphics station for the development of entertainment systems, is today a historical document. The development of PC graphic cards due to the mass arrival of 3D to the world of video games, has pushed TDI computer equipment aside. Laws of life, greater power at lesser prices.
This is a piece in which Richard Wollheim’s maxim in Art and its objects is made manifest, as “it seems to be a characteristic feature of contemporary art that the transformations that it goes through are wider in character than the stylistic changes that philosophical historians of art used to refer to”.