Paul Friedlander, Manchester, Reino Unido, 1951
Has spent more than two decades researching all kinds of technologies and procedures in order to make light a malleable and flexible material that can acquire any shape and volume.
Friedlander's "kinetic light sculptures" are indebted to the work of other great names that have preceded him in the art of light or kinetics, from László Moholy-Nagy to Flavin or Turrell, taking advantage of computerized lighting control systems to highlight the impression of incorporeity and dynamism of his sculptures.
Like many other creators who have developed their careers at the crossroads between art, science and technology, Friedlander situates his work in a hybrid space.
On the one hand, his works rest on the broad tradition of 20th century kinetic art, which he does not hesitate to vindicate. But, in addition, the British artist cannot dissociate his career from the discipline of large-scale stage lighting in which he began his career and which has been a decisive factor in the development of lighting technology in recent decades.
The plastic heritage of the one and the procedures of the other have enabled Friedlander to develop an instantly recognizable body of work.
Friedlander's work is also an example of how scientific research can expand the expressive vocabulary of artists today, to allow them to model physical reality and create images that we would previously have thought only possible in the realm of the imagination and the dreamlike.
Paul Friedlander's works have been shown in several ArtFutura in Barcelona, Buenos Aires, Madrid and Montevideo. as well as in the exhibition "Machines&Souls" (Museo de Arte Moderno Reina Sofía de Madrid 2008) and in "Digital Creatures" (Rome 2017).
Although works such as The Wave Equation or The Energy Core are not strictly holograms, what the viewer discovers when standing in front of them are large disembodied forms in motion, suspended in mid-air, which by turning on themselves endow the light with a three-dimensionality that we are not used to contemplating in the immediate physical space.
In their names, Friedlander's kinetic light sculptures often make references to different aspects of modern science, from quantum physics to string theory. However, their aesthetic construction and the reception of his work by his viewers inevitably hark back to the spiritual and the magical. After all, the physical elements on which Friedlander's sculptures are based are concealed by the mystery of a basic but striking optical effect.
Tycho;test one, 2018
This is the latest work of this creator, the installation Tycho; Test One. The creation consists of a monolith of luminous cement, a new material developed by Eurecat for the company Escofet, with which the artist has been able to work for the first time.
It is "an innovative translucent white concrete that can be used in facade panels, interior design or street furniture," says Eurecat's director of Product Development, Irene Rafols, who highlights the "broad future applications offered by this new material" developed by the technology center and Escofet.
The installation "Tycho; Test One" has won the first call of the ATA Program for artistic creation and training with advanced technologies.