Dibujar el tiempo

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. These shadows suggest the outline of invisible structures, similar to frameworks of beams and columns, which appear static but are actually in motion in relation to the sun.

The technique used is based on the repetition of parallel lines at different angles and colors, a meticulous and meditative process that records the passage of time, stroke by stroke. Although the images are static, the work highlights the difficulty of perceiving movement and the passage of time without a fixed reference, inviting reflection on how the sun and its shadows reveal that everything is in constant transformation.

Fig. 2, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 2. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2. Verano, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 2. Invierno, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2. Base, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 2. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2. Verano, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 2, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 3, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm. ea.

Fig. 3. Base, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 3. Base amarillo, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 3. Base azul, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 3. Base rojo, 2024

Fig. 3. Verano, 2024

Ink on Linen.
96 x 68 cm.

Fig. 3, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm. ea.

Fig. 3. Base, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 3. Base amarillo, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 3. Base azul, 2024

Ink on paper Fabriano 250gr.
42,5 x 30 cm.

Fig. 4, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 4. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4. Verano, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4. Invierno, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4, 2024

Ink on canvas Hahnemühle 320gr. ea.

Fig. 4. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4. Verano, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 4. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 7, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm. ea

Fig. 7. Primarios, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base rojo, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base azul, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base amarillo, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Secundarios, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base verde, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base morado, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base naranja, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Mezcla, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm. ea

Fig. 7. Primarios, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base rojo, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base azul, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base amarillo, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Secundarios, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 7. Base verde, 2025

Ink on paper Fabriano 250gr.
61 x 45,7 cm.

Fig. 8, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm. ea

Fig. 8, Base naranja, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, Base verde, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, Base morado, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, Base neutro, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm. ea

Fig. 8, Base naranja, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, Base verde, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 8, Base morado, 2025

Ink on paper Fabriano 250gr.
45,7 x 30,5 cm.

Fig. 1, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm. ea.

Fig. 1. Verano, 2024

Ink on paper Fabriano 250gr.
45 x 45 cm.

Fig. 1. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Invierno, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Primavera 2, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Verano 2, 2024

Fig. 1, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm. ea.

Fig. 1. Verano, 2024

Ink on paper Fabriano 250gr.
45 x 45 cm.

Fig. 1. Otoño, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Invierno, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Fig. 1. Primavera, 2024

Ink on canvas Hahnemühle 320gr.
105 x 105 cm.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

07:30am, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

02:00pm, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

05:30pm, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

07:30am, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

02:00pm, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

Bogotá junio 20, 2024

Ink on canvas Hahnemühle 320gr.
42 x 58 cm. ea.

The work seeks to capture the notion of time and movement through the interaction between light, shadow, and color. It represents the shadows cast by an imaginary construction at four specific times of the day on June 20, 2024, in Bogotá: 7:30 am, 10:30 am, 2:00 pm, and 5:30 pm. These times were chosen for their relationship with the quadrants of an analog clock, aiming to bring structure and order to something as elusive as the passage of time.

Since the earliest astronomical experiments by ancient civilizations, such as those recorded in Mesopotamia and Egypt, the movement of the sun has been fundamental for humanity, allowing us to measure and attempt to understand the very concept of time. All movement is relative to something, and in our case, nearly all our activities and movements are synchronized with the solar cycle. My interest in recording the passage of time as the most valuable resource in this realm seeks to take center stage in the work, representing the "lost" or past time in a day of my life through the shadows cast by sunlight at key moments of the day.

Using the technique of repeating relatively parallel lines drawn by hand, shadows are created that vibrate optically due to the irregularity of the strokes and the texture of the medium used, inducing a sense of movement in the viewer. This approach aligns with my ongoing pursuit of building works and images through the repetition of simple gestures, valuing each one for the time it takes and for its importance within a complex result. Although the work suggests the presence of a geometric figure casting a shadow and reacting to light at different times of the day, this figure is not evident, as it is the shadow and its movement that shows the passage of time.

Consulting with ChatGPT, a characteristic tone for the general light of Bogotá was determined in CMYK code, used to mix the inks that appear as the background in the four pieces of the work, as well as a specific tone for each of the times of the day reflected in the color code within each shadow. This process, although technologically representative, underscores how human perception of color at those times would likely vary, adding a layer of reflection on the interaction between technology and personal experience, which in many cases is very different, but is increasingly integrated into our reality due to the incursion of these technologies.

Although the work does not include actual physical movement, it aligns with the principles of kinetic art by exploring the perception of movement and time. The optical vibration created by the parallel lines and the need for the viewer to change their perspective to appreciate the different shadows generate a dynamic visual experience, inviting the observer to move and view from different angles. This interaction challenges the static perception of other artistic movements.

The work combines elements of Op Art and kinetic art with the representation of solar movement. The choice of colors and the manual technique introduce a dimension of augmented reality and subjective perception, connecting art with technology and the contemporary way of seeking and processing information. This work also reflects my interest in materiality and detail, addressing problems on different scales and highlighting the importance of each line in creating a complex image.

Fig. 1. Verano 2024

Foto

Fig. 4. Verano, 2024

Foto

Fig. 1. Verano 2024

Foto

Fig. 2. Primavera 2024

Foto

Fig. 3. Verano, 2024

Foto

Fig. 2. Primavera 2024

Foto