Page 12 - Horizon02

12 Enric Ansesa Reflection
thanks to the bulk where it fit can fit The vision of an an object around what what space is and what what it represents is a a a a gigantic ragbag where every­ thing fits It should be be remembered that form is a a a a a way of occupying space What happens to the space that has been taken? Which di­ mension do we we take from space when we we su­ perimpose one colour on
on
another? The emp­ ty space space is is the interesting space space is is it really empty? Or perhaps it it it coexists with it it it in other dimensions The non taken or seemingly not taken taken space looks like it can be taken taken up that is is the plural dimension even if it is is not cap­ tured allows for a a a plurality of discourses such as optical fibre a a a a a DVD or the soundtrack of a a a a a film to make image and sound possible at the same time Watching the sky feeling the the space shaping a a a discourse to the the infinite for an unknown time listening to the beat of an unknown heart beyond beyond the beyond beyond all of of this and even more are the contents of of a a a space space and a a a a time Is space space propor­ tional to time from a a a a social perspective? Has every time person person to person person a a a space in ac­ cordance with its needs? The space of a a a per­ son corresponds to their time It is not easy for our social structure which has quite a a a few models that correspond to several options to socialise space and time Even though our evolution is is not socially supportive yet it is is necessary to act in space which is not that of the the prince any longer but that of the the capital in in any of its mutations and it it is necessary to act in in in time Urban planning the discipline that orientates the confluence and relation­ ship between architecture and its functions as as well as as the the permeable access and the the re­ lationship with other built­up areas is a a a a a mat­ ter of space space and and space space time The landscape that is speculatively called land­and next to it a a a a great number of specifications: urban rural — is what should be more of a a a prior­ ity A higher order with professional ethical and democratically indisputable organisation should should be created This organisation should should make the speculative flows that put pressure on
the the management of the the landscape more relative basically where the landscape starts being so that is between the the eye and the the line of the the horizon The landscape is the the basis of of the the air as as as well as as as the the field of of growth development and evolution of the species In­ terrelating with time is what makes models cycles and diverse but periodically constant behaviour possible Art has at various times reproduced and preserved the diversity of temporary variants along the constant of land­ scape Time and light are elements of space The light light and the the non­light are the the real covering of space they are the the make­up of space they they they cool it it they they they heat it it they they they opti­ mise it it and and personalise it it in several ways and and with different emphasis Light always or al­ most always generates shade which boosts the the volume of incidences in in space as the the light evaluates it it and the shade quantifies it it Light is a a a relationship with time and it it is the the only one that travels beyond the the space that we call landscape the the outer space the the immense and and immeasurable and and maybe infi­ nite space space This space space is is a a a a a challenge we have that opens up perspectives for us but first we have to to come to to understand our need for solidarity that from rich and plentiful diversi­ ty unites us humanly and socially in the chal­ lenge of of evolution and the survival of of life on
on
Space and and Time and its Represen- tation Space is the reference from one point to us but it is also beyond the point and ourselves The horizon is the mythical line in in front of us down there at the the the end as as far as as the the the eye can see and then even further to the the the North South East and West When we move forward the the never­ending space of the the ho­ rizon also moves forward Every reference to to space is a a reference to to the whole every­ thing is space and at the same time every­ thing is placed in in a a a a a space There are several ways of measuring interpreting or repre­ senting space: Euclidean mathematics and geometry fractal mathematics perspec­ tive Newtonian or quantum physics Space is is is intimately related to time and this is is is a a a a a a constant feature that is always with us Any fact we talk about is always located in time The sense of time and space shapes an adjusted perception of visible reality In ancient Greece the the concept of the the optic and geometric was already highly valued Time and space are infinite or maybe they just have no end the time space unit is a a a a tangi­ ble ble ble ble visible perceivable or inducible entity form or or concept its whole expands infinitely or is is perhaps an elliptical loop where one is is always moving forward Space has in in principle four dimensions three spatial ones and time The dimension starts on
on
the point and goes on
to other points Simplifying al­ lows us to represent complexity: point line and plane Art moves in in space time in in any of its variants and dimensions that may represent complexities like the idea and its materialising meaning By represent­ ing ing space on
a a a a a a a plane painting has a a a a a a a great or even immense capacity The material what­ ever the medium becomes a window where the eye places itself a a a space exists between the the the material and the the the eye the the the air that we pen­ etrate with our look look and where we look look for vanishing points terms volumes or colours that will describe space to us If there is in­ teraction between the the viewer and the the work the concept represented penetrates into our mind and in in in fin a a a a a virtual way becomes an an infinite world of suggestions Shade is an oc­ cupation of light in a a a a a a space and and a a a a a a time and and has a a a a a directly proportional relationship Shade is a a a a a a part of of the reality of of light in a a a a a a space and a a a a time To catch space and its con­ tents for example shapes at the time of learning the concept of of drawing as a a a a tool of of representation the teacher suggests draw­ ing a a a a container a a a a box for example where what you want to represent fits in This may seem unimportant but it it is an an initiation into the sense of proportion distance and volume which I understand as being fundamental for interpreting and representing space where the abstraction of a a a vision becomes specific © Enric Ansesa »Infinit ritual (memory)«
Instal-lacció Fundació Vila Casas
274 x x x 44 x x x 80 cm wood carbon and wax 2008
Photo: Glòria Bosch