Magnetosphere: An aesthetic exploration of gravitational perturbations
By Carmen Rioja
“Man is a molecule with eyes in the gears of the cosmic mechanism.”
Observing the heavens has become Laura Begoña’s new challenge, a process that continues the direction of her past work of recovering old pieces of iron, but it takes her beyond geocentrism; she declares that a poetic archeology of the cosmos is possible: if we can recycle old pieces of iron, why not play with the idea of recycling minerals that glowed in the skies millions of years ago?
Works by Laura Begoña
Sat, Sep 1, 5pm
Galería Manuel Chacón
Fábrica La Aurora
For artist Laura Begoña to allow herself to be aesthetically affected by the perturbations – which generate the material, the magnetism and the minerals in the universe which at the same time are themselves subjects – assumes a change in the subject that observes, a shift of perspective, an adventure. Is it mathematically determined or random? We don’t know. But we do know that the subject changes constantly. And the work itself is in constant movement resulting from the process of creation as well as the participation of the spectator, who is invited to manipulate the parts that constitute the whole.
Thus Magnetosphere generates its own gravitational field, taking the form of mass and an amalgam of sculpture and painting; such a form submits itself to the pragmatism that symbolic representation requires: the metal plate replaces the canvas as an expansive firmament in which celestial bodies are located, interpreting their gravitational fields, the interstellar forces, the cosmic phenomena and events. Irony and humor come to life in the conceptual titles which, though they might seem ingenuous, result in a certain mordacity, as in the case of “Centros de Galaxias” (Galaxy Centers) –it is now believed that there is a black hole in the center of most galaxies, which attracts and swallows all matter– in this sculptural work we see a drain in the elliptical center of a very large metal plate, which if one puts together all the elements of the representation, makes perfect sense, risible but not for that reason invalid, and perhaps hypothetically correct. As Dr. Atl said: “A painter has a great advantage over the astronomer and mathematician in terms of seeing, not needing telescopes nor calculations, nor photographs of the sky over a range of fifteen years in order to understand at once the form and movement of things.”