The digital art and the use of the digital resources in the artistic expression

ernesto-arroyo1

Focused on digital art, reinterpret objects, look at them with different eyes, with another lens, and from there, begin to imagine. The madrilenian photographer Ernesto Arroyo doesn’t let anything escape his personal gaze. Later via his preferred technique, digital construction, he insures the blurring of the trail of his intervention. He is, without a doubt, an artist who goes a step further.

The work of Ernesto Arroyo is formed from a universe that breaks with photographic realism. False perspectives, transplanted textures. How does a graphic artist like Ernesto Arroyo work?

Basically the origin of my images centres in the reinterpretation of objects creating digital art. I have the custom of scanning every image that draws my attention, for whatever reason. The ones that don’t fit in the scanner I photograph. I also like to photograph walls and floors for their mouldable content and I use them fundamentally for atmosphere.

After, once the theme is chosen, it is time for the most pictorial work of composition to begin. In the case of this exhibition the seed of each image is a sculpture to which I add a totally invented situation: the places they appear to be are not literally real, photographable as such. I try not to make them subject to a strictly photographic physical logic.

Watch Modern Art Exhibitions - Art Gallery Plastike -  Ernesto Arroyo

¿What are we going to find in your new exhibition in Plastiké Art Gallery? A digital photomontage that is in no way at variance with the classic.

In digital art, the use of a particular technology, such as digital resources, does not necessarily imply a restriction of the expression of the plastic arts. The fundamental element behind this exhibition is the re-reading or relocating of certain classical sculptures found in historical gardens. It is intended to be a re-elaboration or supplanting of the surroundings for which they were created, with basically scenic ambitions (Mars, Diana) or more surreal or less formal relocations (such as in Flora, Saturnian, or Neptune). In the case of Narcissus only a desire to provide a setting for the powerful drama of the statue subsists. There is little or no reference to their true reason for existence, they are no longer deities those that were, they are characters for another garden, totally imaginary: for the back garden.

Digital Art - Ernesto Arroyo

In this back garden, with what is happening, is it also necessary to reinvent yourself to carry on?

In art, as in any other discipline, mostly in digital art, variation is a constant over time. Nowadays we are seeing how in many sectors (industrial, commercial) innovation is key for development. To reinvent ones’ self is in the very biology of living things. I don’t think creativity would be understood without the presence of this concept. In the last two hundred years we have seen how art feeds continually from diverse elements: from industry, from ethnographic elements, from repeated study of the classics or of the newest ground-breaking technology, and from the integration of photography, cinema, comics, publicity etc. It moves in parallel to the world crisis, of which it is a reflection. Speaking of the economic crisis, which exists here and now, it is true that we are seeing huge changes in models of distribution; with time we will see how this affects creators.

Do you believe that graphic artists find it more complicated than painters or sculptors or are the problems for everyone?

The problems are for almost everything that is bought and sold. Naturally, as is the case with everything, there exists a minority which moves the majority of the resources. I don’t think that the type of artistic discipline you follow has anything to do with it. What I do think is that never before have there been so many people working in the different disciplines, what’s more the artistic languages and the ways are diversifying and becoming richer exponentially.

Is betting on new technologies and galleries on line, such as Plastiké, one of the ways of looking towards the future of the sector?

Of course. Methods of communication are changing at an incredible velocity. There has never been anything like it before. I think every artist should consider the circulation of his work. To be able to count on resources, be those modest ones, such as a web page, which displays your work, is a real achievement because it makes the work available in real time and on a worldwide level. If, in addition the circulation is professional and the resources are exploited in the right way, such as is the case with Plastiké, then the potential is truly amazing. The way of buying is changing, unfortunately it seems we no longer need physical contact with the desired object to want to buy it.
The challenge is to put the collector or buyer in contact with the artist. Now that’s another story.

Digital Art - Art Gallery Exhibition - Ernesto Arroyo

Should we continue to encourage young people just starting out to put their faith in what they like, even though it is complicated?

I don’t think its necessary. The people we should encourage to put their faith in young peoples work are those who have the possibility of giving them a helping hand.

I also believe that affordability must be a survival tool. The purchasing power of the middle class is continually diminishing; buying art by acclaimed artists is within the reach of only a few people, or institutions. There are a prodigious number of artists (people who have a creative or artistic activity, be it at their own cost) and we hope that this large flow of digital communication, represented by Internet among others, serves to create the necessary contacts for a healthy art market.



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