These works evoke a reflection on the nature of perception and the subjectivity of experience. Chromesthesia, a neurological phenomenon that induces the perception of colors when hearing sounds or, in this case, when contemplating specific forms, serves as a starting point. The question is raised whether reality exists independently of the observer or whether, on the contrary, it is intrinsically linked to individual interpretation.

There are echoes of Edmund Husserl’s  phenomenology, which emphasizes conscious experience as the primary source of knowledge. The phenomenological reduction, or epoché, invites us to suspend judgments about the external world to focus on the pure experience of the visual phenomenon.

Furthermore, it can be connected to Immanuel Kant’s transcendental idealism, who postulated that space and time are a priori forms of sensibility, that is, mental structures that condition our perception of the world. The geometric shapes and the play of light in the images could be interpreted as a manifestation of these structures inherent in the human mind.

Finally, the duality between the objective (the physical form of light) and the subjective (the individual chromatic interpretation) refers to the Hegelian dialectic between Being and Consciousness, where reality is constructed through the interaction between both.

Title: “Chromesthesia”

Description: Both works are characterized by the use of dynamic lines and vibrant colors that converge at focal points, creating a sense of movement and energy. The first image (the swirl) presents a centrifugal structure, with lines expanding from the center outwards, suggesting an explosion or emanation. The second image, in the shape of a “V”, shows a centripetal structure, with lines converging towards a central point, creating a sense of concentration or focus.

The use of color is crucial. In the first image, the color palette encompasses a wide range of warm and cool tones, creating a dynamic contrast. In the second image, yellow, green, and reddish tones predominate, with a dark background that intensifies the brightness of the lines.

Technically, digital manipulation of the image is observed, possibly using graphic editing software. The “sweeping” or “motion blur” effect contributes to the sense of dynamism.

Regarding artistic references, we can mention:

• Italian Futurism, with its emphasis on speed, movement, and the representation of modernity (Umberto Boccioni, Giacomo Balla).
• Russian Rayonism, which explored the representation of light and rays as pictorial elements (Mikhail Larionov, Natalia Goncharova).
• Abstract Expressionism, with its focus on emotional expression through color and form (Wassily Kandinsky, Jackson Pollock).
• Op Art, which plays with visual perception through geometric patterns and chromatic contrasts (Victor Vasarely, Bridget Riley).

Software: Gimp.

Author: Marco Antonio P.R.

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