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In the young history of generative art, the Barcelona-based Gala Mirissa holds an early and consciously feminist position. Starting out with gif animations, she quickly discovered the possibilities… Read more
Intro Exhibitions
In the young history of generative art, the Barcelona-based Gala Mirissa holds an early and consciously feminist position. Starting out with gif animations, she quickly discovered the possibilities of script-based image processes as a form of artistic expression and visual representation. As an accomplished actor in a field mainly dominated by men, she has proven that computer work is not the domain of male thinking and expertise. Her frequently exhibited prize-winning works address specific female experiences within the context of societal perception. As aesthetic and artistic objects, they stand entirely on their own.
Fantasy World
The smooth transition from objective motif to physical materiality allows for unexpected transformations. When colour values are preserved but masses change their form, the world appears as a place that is constantly in flux. Anything can evolve from anything else, and there are no limits to the imagination. The only recurring constant in this piece is a woman’s face that repeatedly appears and takes concrete form in order to briefly lend a countenance to various people and figures. Perhaps it is a self-portrait, shown in genealogical evolution. In any case, the metamorphosis is accompanied by a rising and falling image rhythm that brings to mind a breathing ribcage.
Marilyn: Imperfection is Beauty
Working with Marilyn Monroe’s statement that “imperfection is beauty”, this piece features a likeness of the legendary actress that alternates between different painting techniques and degrees of sharpness. As a result, an initially almost pointillist image gives rise to an impressive expressionist image of the movie icon. Proud and self-confident, Marilyn Monroe peers at us for a few seconds, only to again dissolve into colourful splashes of paint and slowly fade away. This process is repeated with a second portrait: here, too, the transition from abstract to concrete (and vice versa) involves a fluid metamorphosis and stimulating colours to convey the impression of transitory sublimity.
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