Suspended Time: Fragments of the Virtual and the Tangible

In a world where the boundaries between the digital and the physical are constantly blurring, this project articulates a profound reflection on the dynamics between bodies, objects, and the conceptual territories we inhabit. Through an interdisciplinary proposal that combines geometry, kinetics, and psychology, the presented works question notions of stability, movement, deterritorialization, and the perpetual dialectic between the static and the dynamic.

The exhibition space transforms into a terrain of possibilities through a vinyl mural intervention that reorganizes the environment via complex geometric configurations. This resource not only evokes the traditions of Latin American kinetic and geometric art but also establishes a critical and contemporary dialogue with past generations of artists like Carlos Mérida, who explored the convergence between modernity and tradition, and figures such as Kazimir Malevich, whose suprematism redefined the boundaries of abstract visual language. Likewise, historical movements like Constructivism and Dadaism inform this exploration, serving as a basis for a reinterpretation that tensions the historical legacy with the demands of the technological present.

Digital interventions expand this interaction through two augmented reality sculptures: "Gravedad/Ingravidez" and "La inercia del tiempo." These pieces, designed to integrate into the physical space via mobile devices, display infinite movements that create an immersive experience, questioning the relationship between the tangible and the intangible, the real and the virtual. Here, repetitive motion is not just an aesthetic gesture but a critical commentary on learned mobility within social confines, while suggesting the need to break such confines to reterritorialize as a unique and renewed individual deeply connected to their own experience.

This approach is enriched by a robust conceptual framework based on the ideas of philosophers like Félix Guattari and Gilles Deleuze, whose notions of deterritorialization and reterritorialization illuminate the transition between the static and the mobile. Similarly, Elizabeth Grosz brings a critical dimension from her exploration of the relationship between chaos and territory, offering a perspective that situates movement as an act of both resistance and possibility. Geometric figures, in turn, function as structures that encapsulate and re-signify the connections between the collective subconscious and tangible reality, suggesting that physical space is a place of constant transformation and reconfiguration.

The infinite and repetitive movements of these digital sculptures pose fundamental questions about the nature of freedom and identity in a world defined by constant flow. More than a mere visual commentary, these works are conceptual devices inviting us to question the limits imposed by the social environment, reconfiguring our position on a map where the digital and the physical intersect. This process of rupture and reconnection reflects the human potential to reinvent and rediscover oneself as a unique being, transcending the simple summation of historical and cultural conditionings.

This project represents a turning point in the artist's trajectory, who, with a solid background as a painter and sculptor, now ventures into digital practices to address complex questions about disconnection within synthetic connection. It is a commitment to art that not only dialogues with technological advances but uses them as a means to interrogate the structures of power, perception, and subjectivity that shape our contemporaneity.