Dron, Alejandro

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Art is a lifelong search to create a sense of place so the artist and the beholder will know where they are. Where one can ask oneself who am I? and Where am I going? What matters to me is to attempt to differentiate a place and a no place at all. This ultimately means distinguishing between the profane and the sacred. This is why I understand my art as a search for the absolute: no representation, no symbolism, absolute negative space. When one has a shape, its black is a limit for the white around the shape. The black is like an excuse to talk about the white. This ancient idea is what motivates me. The positive is the shape. The negative space is what is going on in and around the shape. This is related to the negative space in sculpture. The dialogue that I experience with the white helps me to create the black shapes. The black is the necessity. The white is the protagonist. In my work I create letters or cells that will be combined. In combining these primary structures I get different meanings. I am engaged in a constant dance of truth and falsehood. Non-Stop has one stable structure, and another one that stands on one leg. This more open structure appears to be less stable. In this process there is a interplay between place and space. I want people to feel the void, the presence of the white space surrounding the piece. The black metal forms delineate the void, the true protagonist of the artwork. The moving positive spaces create new negative spaces.


Recent Submissions

Now showing 1 - 2 of 2
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    Fold-Unfold; Croc; Esh; Shin; Ruaj; Tet
    Dron, Alejandro (2006-11-16T20:58:52Z)
    Installation shots of various pieces by Alejandro Dron.
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    2003 Rockefeller New Media Foundation Proposal
    Dron, Alejandro (2006-11-15T21:29:20Z)
    Non-Stop is an interactive kinetic sculpture composed of two flat metal structures on wheels. Both elements are elevated from the floor by approximately 3 inches. The larger part is squared, more stable. The smaller one is more open and appears to be less stable. Each part has a different contour and each shape interacts with the other. The entire piece starts and ends its dance within a 45 square foot area. Throughout its sequence it expands to engage a 90 square foot area. The movements of Non-Stop are preprogrammed by the author and are altered by the participants. If the participant stops moving so does the sculpture. The work can assume various rhythms and forms. This pace can be modified through the participants' movements. Non-Stop follows a cause and effect as well as a random pattern. After many sequences the participants may come to understand which movements are part of the preprogrammed sequence and which are random ones. As the viewers approach and walk around the sculpture they trigger sensors - connected to electronic circuits, microprocessors, motors , and special mechanisms for the wheels - powered by Photo Voltaic Cells. All these components are hidden in the bottom of the sculpture, (see Draft of the mechanics). Non-Stop is a large-scale participatory work of art. It attempts to create an antienvironment and through its instability helps the participant to confront conventional assumptions about space and social organization.