About Light Boxes

The light boxes are the result of a critical reflection about the relationship between analog and digital media in the field of contemporary art, and in a deeper sense, they refer to the increasingly prominent role of technology in the construction of the contemporary experience of being in the world.
In terms of their format, they present a certain ambivalence between being digital screens, or “fixed” wall pictures. At first glance the distinction is not clear, and this ambiguity is part of the proposal. These are analogous devices that evoke the digital, but not immediately, but through a sort of interpretive dislocation, a perceptual “glitch”.

In terms of materiality, they are constructed as LED-retro illuminated boxes, with variable dimensions, which through the use of analog optical films manage to generate the perception of dynamic movement of the images that make them up. The voluntary movement of the observer is thus translated into the movement of the images. But this movement of the observer is determined by the perceptual need to “fix” and focus the contents of the images and texts, which slip away and tend to blur permanently due to the optic effect. Thus, the aesthetic experience becomes a game between perception and cognition. We stop at the point in which sensory perception is transformed into intellectual comprehension: the stain becomes text, the play of chiaroscuro becomes a face. It is a bidirectional relationship between dynamism and fixity, between the transitory and the permanent. The images have been intentionally chosen in order to reinforce the same dichotomy, but from a poetic-symbolic perspective. They speak of human memories, of remembrance, which is something that is also permanently shifting between permanence and oblivion (“blurring”).