BOUNDLESS

 

 

PRESENTED BY:

The Cultural Center of the Philippines 
 
 

DATE/ TIME/ VENUE:  

Opening reception : 21 October 2015, Wednesday, 6PM
Artist talk: 11 November, 2pm at the MKP Hall

 

Exhibit duration: 21 October to 22 November 2015
Pasilyo Vicente Manansala (2F Hallway Gallery)

  
 

DESCRIPTION:

Fractal art is a mathematical visualization of the polynomial equations of fractal geometry. Far from the typical digital art of vector and raster graphic programs where images, color and lines are manipulated, fractal art makes use of mathematical equations or functions of the Julia, Fatou or Mandelbrot sets to create images. This exhibit displays a plethora of infinitesimal elements as the outcome of the computations done by the artist with the use of fractal-generating software. With every step of computing, Olivares discovers the behavior of functions vividly manifesting as image coordinates that repeat, diverge or expand. These are described as either “regular” or “chaotic” behaviors of the mathematical equation. 

Olivares refrained from using graphics programs to further modify the colors or images produced which is commonly done and referred to as post-processing. The artist also opted not to use or integrate non-fractal imagery into her works so that fractal art is predominantly promoted to the public as an aesthetic product that is purely mathematical in nature. With this intention, the artist likewise launches her aim to highlight the historical relationship of mathematics and art, and the influence of both in conveying beauty and the abstract that permeates the coextensive phases towards wholeness. 

 
With fractals as the basis of her concept, Olivares tells us of the infinite relationship that governs life while paying tribute to the many messengers who have told this story — nature, included. Ergo, the flora in Bloom and Winter Rose, and the concentric ways of hurricanes in Tandava as icon of Hindu god Shiva’s divine dance of creation, preservation and dissolution. Five of the exhibited works’ titular songs of Joey Ayala serve as an encomium by which ruminations on self, identity, and territory are kindled: between chaos and order, the “Doer of things” shines in Bathala as the incandescent ray that bursts into rainbows in Interrelated. The law of correspondence, “As above, so below” lulls us all in Ayala’s Sea is Heaven, and in the final equation, ends as tribute to the untold beauty of nature, which too, is found within us all.