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Abstract
The conceptual and practical frontiers of art today have been erased due to the triumph of complex thought theories and the incorporation of new technological processes that have led artists to position their creations in interference zones.
The formal, technical and conceptual approaches that were previously unitary in graphics have been reformulated in pursuit of art that can be viewed from the actual process of multiplication and multiplexing. Graphics, as we understand them today, are much more hybrid and complex when installed in space. This displacement of the print has raised new questions and induced some answers concerning the idea of the matrix that generates “multiples”. The multiple-concept view takes us back to the multifaceted XXI century in a mutant invasive loop that colonises the boundaries of the very definitions.
The objective of this paper is to reflect on how the classical two-dimensionality of graphics has moved towards the search for a deeper and more immersive artistic experience, different from what we have known to date. We will observe how multiple art has evolved from the two-dimensional traditional paper print to the sculptural object and by extension to its installation in space. We start from that inhabited, printed flat space to add other elements to the third dimension that will define our understanding of the new multiple reality: the time element concerning the experiential perception element of the work of art.
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Copyright (c) 2022 Ana Soler, Vanessa Gallardo