EKphrasis
1. Device attributes, 2015
300 x 90 x 8 cm.
300 x 90 x 8 cm.
300 x 90 x 8 cm.
300 x 90 x 8 cm.
300 x 90 x 8 cm.
300 x 90 x 8 cm.
2. The perfect tongue, 2017
135 x 101 cm.
115 x 45 cm.
Graphite and ink on paper. QR code for digital reading that incorporate Arabic script in geometric Kufic characters, 42 x 37 cm.
QR codes for digital reading that incorporate Arabic script in
geometric Kufic characters. 200 x 200 cm.
QR codes for digital reading that incorporate Arabic script in
geometric Kufic characters. 200 x 200 cm.
QR codes for digital reading that incorporate Arabic script in
geometric Kufic characters. 200 x 200 cm.
3. Inverse of perception 1.1, 2016
Vídeo Loop, 1’ 03”.
Chestnut and ash wood.
24 x 36,8 x 6,5 cm.
Chestnut and ash wood.
34 x 32,5 x 6 cm.
Chestnut and ash wood.
24,3 x 26 x 4,5 cm.
Chestnut and ash wood.
31 x 28 x 5,7 cm.
Variable dimensions, 1’ 03”.
3. Inverse of perception 1.2, 2016
Chestnut wood die-cut with numerical control and burned and multi-screen video. 74 x 74 x 1,5 cm / Projection 36 x 64 cm.
Chestnut wood die-cut with numerical control and burned and multi-screen video. 74 x 74 x 1,5 cm / Projection 36 x 64 cm.
4. Tradition, 2017
Chestnut and ash wood, 83 x 73 x 7,5 cm.
Chestnut and ash wood, 83 x 73 x 7,5 cm.
4. Mistery, 2017
Process
ÉCFRASIS; LANGUAGE ENCRYPTION.
This project compares the decryption systems of two different times and separate cultures, but which respond to parallel forms: the encryption processes of QR codes (Western world from the 20th century to the 21st century) and geometric Kufic (Islamic world from the 15th century onwards), which are part of the everyday cultural landscape of their temporal moments.
In both cases, I show how language is used to hide-reveal references that correspond to a concept of a superior universe, religious in one case, digital in the other; the religious theogony and the omnipresence of the technological cloud.
In both cases it is necessary to translate the signs, to decrypt with knowledge or machine technology.