Opening : September 15, 6pm- 9pm
Closes: October 7th
Curated by KJ Baysa & Kio Griffith
MOIRÉ FRINGE invokes “the perceptual magnification of small stimulus differences” – Lothar Spillmann
Professor in the Brain Research Unit at the University of Freiburg,Visiting Professor at the Herder Foundation, Bonn, and the China Medical University, Taichung, Taiwan.
Malgre tout (despite all), perception trumps even the truth. A modern world comes to itself by staging its own conditions. A modern world is a self-conditioning and self-reporting one. If, prior to the nineteenth century, society could not describe itself, now it cannot stop describing itself—in an attempt to catch up with what it is generating; however, in this world of “fake news” can we truly rely on how we describe ourselves and our world.
Paradoxes and illusions can be described as statements or stimuli that contradict or produce a distortion of the sense and generate new phenomena that are not present in the initial incitement. The application of paradoxes and illusions in art is not new. Visual paradoxes have been included in works by artists as far as the XIV century, like “The Ambassadors” (1533) by Hans Holbein the Younger. Modern implementations are evident in pieces by M.C. Escher or Jesus Soto; these works invite the spectator to engage in a mental “tease” to produce an extension of what is literally displayed. Trompe l’oeil is a related conceit from surrealism with Delvaux and Magritte.
Moiré Fringe gathers works from the spectre and spectrum of perception at the edges of the Gaussian curve.
Julio M Romero
David S Tanner