Dialectic between art and science

José Vidal Valicourt, 2014


The story could begin with a burst, with a dispersion of the hive or cellular metastasis and the later gathering at one point, in one pupil known to be myopic and, thus, extraordinarily beautiful. A hexagon, a regular polygon and a symbol of perfection which slowly dissolves. Nothing is heard yet we can sense the buzzing left by this movement of disintegration and configuration. It’s a cumulative process of particles that attract and repel each other. There’s a central emptiness as the particles invade and immediately leave, leaving the emptiness more void that ever. The chaos is sequentialized. But the objective is the search for symmetry and, therefore, certain serenity. Eyeballs that shake. Dots which are pupils that dilate and contract, that overlap and project the formation of a perfect tear.


An archipelago is a group of islands that are united by that which separates them: the sea. The movement in some way imitates the movement of the tectonic plates. If in the beginning there was Pangea (“entire earth”, “entire land”), a supercontinent that saturated everything and was surrounded by a single sea as well (Panthalassa), the next process was the slow and relentless decomposition, fragmentation, fracture and logical multiplication of islands or particles that would end up coming together in a movement of contraction into a more compact and homogeneous body.


A pearly, misty landscape that is gradually geometrized into a great hexagon over the expansive saline. The formation of the hanging crystal. When the matter is released from the ties of the surface and fights to counter the most basic laws of gravity. Subtleness it attempts to hoist as if the final exercise of he who has achieved the final state of meditation. The peaceful illumination of a wise man. Here the particles are distributed in a more balanced way. The will of symmetry persists from the start. While as the color of detachment and purity. Barrenness as the symbol of the beginning, of all starts yet also of all endings, of everything achieved. An inaugural look as well as the final state of beatitude. The hexagon remains unchanging. The perfection is not violated or subject to any type of movement that deforms it. The initial structure of the crystal is preserved: the hexagon.


At first glance: a contrast between the grey desolation of the island landscape and the basalt of the refuge itself as well as the orthopedic stridency of the nylon. Between the pure matter and the material subject to human manipulation. The refuge as the doorway to the central fire within,

in the heart of the planet. But also the refuge as the hollow and mouth, an orifice that lets out the igneous breath to the cold surface. The refuge is the essential home, the most primary domicile, the simplest and most necessary architecture. An open landscape. A mineral home over the wasteland thrashed by that wind that forms a sigh, a dry breath. The nylon is the only element that indicates the existence of the wind. The solidness of the basalt is equal to the stark permanence.

Here we see the dialectics between that which is ancestral and that which is strictly contemporary, between the physis and the poiesis, between nature, art and science.

José Vidal Valicourt, 2014

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Dialéctica entre arte y ciencia