Moving Image: Video, Animation and Software Art at Alonso Art

Oct 21st through Nov 25th, 2006

Franics Acea. 2003. Superman, the way we were. Cut film video projection, dimensions variable

Alonso Art in Wynwood Art District opens the exhibition Moving Image: Video, Animation and Software Art, featuring works by Francis Acea, Alexandre Arrechea, Ramie Blatt and Claudio Castillo.

Moving Image is a simple approach to an increasingly complex issue; how to define the ever changing realm of Video Art. Some of the works in this exhibition, such as the ones by Alexandre Arrechea and Francis Acea, would easily fall into the traditional concept of Video Art; the work of Claudio Castillo, instead, would rather belong to the realm of Digital Animation and that of Ramie Blatt, as he defines it, falls under the Software Art category. Given so many different technological approaches, the use and exploration of images in movement becomes the common thread that brings cohesion to this disparate body of work.

In “Superman (The Way We Were)” Francis Acea creates a provoking video loop that puts into question preconceived ideas about courage, power and heroism, thus becoming an incisive comment on the ideals that conform today’s American identity.

The video piece by Alexandre Arrechea titled “Atardecer” comments on the experience of surveillance and control by using animated still images to create an illusion of movement. Ramie Blatt will be exhibiting his “Mirror Series” and “Laws of Attraction” in which the artist explores the experience of self-perception, and how we build our own identities, by playing with the vehicles that carry our self-images, within, and over time. The artworks consist of software programs that allow a high degree of interaction between the viewer and the computer screens and projectors.

The resulting images are not predetermined in any way, but rather are the result of that interaction. Claudio Castillo will be presenting a series of works called Evolving Art. In these works, the artist has digitalized his former watercolors and uses a software to generate random animated loops. Using his original watercolors as a guide, he splits up the painting into different layers and then animates each layer in 32 different loops. By having the same image changed in a never ending manner, his work becomes a one of a kind experience for the viewer. The ever changing, evolving artworks function as a metaphor for the impermanence of the original.

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