GOLDMEMORY120122945.3
Quote from CohentheWriter on 3. July 2022, 0:17Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0xb932a70a57673d89f4acffbe830e8ed7f75fb9e0&token=11076&page=3
Source Link: https://superrare.com/artwork-v2/goldmemory120122945.3-11076
Date Minted: June 15, 2020
Artist Description: GOLDMEMORY120122945.3 created on a smartphone in 3.6.2020
CohentheWriter’s Commentary:
Visiones’ (Marcor’s) artworks are so singular as to be instantly recognizable. But that’s an effect of their compositional confluence, not of any one singular factor. Because other artists use colors like this. Soft, almost like colored-pencils. And other artists build their works from such intricately-positioned polygons. And other artists center human faces in the majority of their artworks. But none create overall impressions like Visiones does. And none can make such gripping statements about the evolving relationship between organics and machine. And few have ever been able to craft as profoundly unique a visual style as Visiones, throughout 196 SuperRare pieces, seems effortlessly able to achieve. GOLDMEMORY120122945.3 is an exemplary example of Visiones’ style, but it’s also rare in the artist’s oeuvre for being composed of a single color palette. GOLDMEMORY120122945.3, a vision of man and cybernetics all dressed in gold flake, is one of seven works in Visiones’ oeuvre marked by “GOLD” in its title, and characterized by a devotion to this singular color. A rare and malleable metal, gold is the perfect situational substance for Visiones to use to examine the twisting evolution of life itself, from root to tree trunk, from plant to animal to cybernetics, evolving onward into things that are yet without name, though they seem strangely familiar nonetheless. Perhaps that owes to the connection.
It’s hard to believe this goldenrod fantasy was made on a smartphone, but though I myself don’t have such capabilities, I have to assume Visiones is a master of technology and not actively a magician. But the sheer complexity of GOLDMEMORY120122945.3 leaves me uncertain. It’d be a fool’s errand trying to describe the endless number of juxtaposed polygons, adjacent and abutting, positioned above a human face like a floating, broken crown of triangles and trapezoids, positioned as a sequence of pipes and nodes in a kind of face-framing device within the piece, positioned here as a substance reminiscent of subway-grating, there like a diamond-encrusted diadem, and in long descending rectangles like the green lines of code in The Matrix. The piece itself depicts an identifiably-female face surrounded on all sides by a complex series of these polygons. Her scalp is covered in an enormous, chandelier-like crown of shapes, some of them built up like a pyramid, others hovering drone-like. Below her, a great gaping hole that could conceivably be the mouth of a volcano or the mouth of a turtleneck sweater. If we follow that hole downward, we see it takes on the texture of a tree trunk, and extends itself into a sequence of misshapen roots, some clipped and short, others long and gnarled and extending along the length of the frame. Only three colors are used throughout the entire composition. Black —denoting background and edge and detail—, a sporadically-used orange which serves predominantly to provide contrast, and, of course, gold, which is the ethos and spirit of this piece and which colors almost every bit of it.
A complicated relationship between parts, indeed. And requiring no subtlety to see, this is a piece that, in keeping with Visiones’ distinct style, seems to compete with itself to include as many separate shapes, polygons, and pieces as possible, to the point that one could conceivably stumble upon this piece, give it a thorough once-over, and not realize the sheer magnitude of disparate items within it. It almost mimics brushstrokes on a canvas, and how they’re often glossed over in favor of the overall impression. This piece, despite its identifiable central motif, is almost akin to a Jackson Pollack in composition, how it calls attention to the individual painterly maneuverings of its artist as opposed to suggesting itself as a single cohesive image. GOLDMEMORY120122945.3 is a tremendous composition, but to ignore the fact that it is a segmented and largely abstract work is doing it a disservice. Because, if we’re being frank, most abstraction tends towards a kind of exclusionary subtlety, or a sense of being guarded with its meaning. GOLDMEMORY120122945.3 is very clear in its content despite that content being captured in a mostly abstractionist style.
Though sections of GOLDMEMORY120122945.3 bear resemblance to recognizable motifs, the only unmistakable aspect of the piece is the woman’s face. The root system and cybernetic crown are all mental associations we make based on shape alone, and from those associations come this piece’s interest in capturing the evolution of life from organism to cyborg to, as mentioned, something as-of-yet without name. Maybe you and I have different reactions to this piece, but my immediate associations are of that machine/organic split, of royalty, of spiritualism (which strikes me as coming from the gold color palette, like idols of a Hindu God), of systems —circulatory, circuit, root— interweaving and expanding and growing into each other. All of that immediacy emerges out of the glut of polygonal relationships, of shapes juxtaposed with other shapes of a different nature; I get the sense that my reading of this piece has evolved not out of what is captured but out of the margins between what is captured. As an individual, that’s wonderful. As a critic-of-sorts, it’s dangerous to delve too deeply in individualism.
I wonder what I would find, however, if I gave this piece more time, more effort, zoomed in closer and interrogated it further. I now see a spot that seems to display a skull. I see another that might mimic a tree. What other shapes and associations hide within the details here? And why do I get that each section, if taken apart from the whole, would produce a different reading? We must confront the fact that there are an unknowable amount of separate artworks here. And whatever we’re seeing/thinking/feeling/observing is a matter of the many-faced confluence, and what bits of it our minds find time to identify.
Source Link: https://superrare.com/artwork-v2/goldmemory120122945.3-11076
Date Minted: June 15, 2020
Artist Description: GOLDMEMORY120122945.3 created on a smartphone in 3.6.2020
CohentheWriter’s Commentary:
Visiones’ (Marcor’s) artworks are so singular as to be instantly recognizable. But that’s an effect of their compositional confluence, not of any one singular factor. Because other artists use colors like this. Soft, almost like colored-pencils. And other artists build their works from such intricately-positioned polygons. And other artists center human faces in the majority of their artworks. But none create overall impressions like Visiones does. And none can make such gripping statements about the evolving relationship between organics and machine. And few have ever been able to craft as profoundly unique a visual style as Visiones, throughout 196 SuperRare pieces, seems effortlessly able to achieve. GOLDMEMORY120122945.3 is an exemplary example of Visiones’ style, but it’s also rare in the artist’s oeuvre for being composed of a single color palette. GOLDMEMORY120122945.3, a vision of man and cybernetics all dressed in gold flake, is one of seven works in Visiones’ oeuvre marked by “GOLD” in its title, and characterized by a devotion to this singular color. A rare and malleable metal, gold is the perfect situational substance for Visiones to use to examine the twisting evolution of life itself, from root to tree trunk, from plant to animal to cybernetics, evolving onward into things that are yet without name, though they seem strangely familiar nonetheless. Perhaps that owes to the connection.
It’s hard to believe this goldenrod fantasy was made on a smartphone, but though I myself don’t have such capabilities, I have to assume Visiones is a master of technology and not actively a magician. But the sheer complexity of GOLDMEMORY120122945.3 leaves me uncertain. It’d be a fool’s errand trying to describe the endless number of juxtaposed polygons, adjacent and abutting, positioned above a human face like a floating, broken crown of triangles and trapezoids, positioned as a sequence of pipes and nodes in a kind of face-framing device within the piece, positioned here as a substance reminiscent of subway-grating, there like a diamond-encrusted diadem, and in long descending rectangles like the green lines of code in The Matrix. The piece itself depicts an identifiably-female face surrounded on all sides by a complex series of these polygons. Her scalp is covered in an enormous, chandelier-like crown of shapes, some of them built up like a pyramid, others hovering drone-like. Below her, a great gaping hole that could conceivably be the mouth of a volcano or the mouth of a turtleneck sweater. If we follow that hole downward, we see it takes on the texture of a tree trunk, and extends itself into a sequence of misshapen roots, some clipped and short, others long and gnarled and extending along the length of the frame. Only three colors are used throughout the entire composition. Black —denoting background and edge and detail—, a sporadically-used orange which serves predominantly to provide contrast, and, of course, gold, which is the ethos and spirit of this piece and which colors almost every bit of it.
A complicated relationship between parts, indeed. And requiring no subtlety to see, this is a piece that, in keeping with Visiones’ distinct style, seems to compete with itself to include as many separate shapes, polygons, and pieces as possible, to the point that one could conceivably stumble upon this piece, give it a thorough once-over, and not realize the sheer magnitude of disparate items within it. It almost mimics brushstrokes on a canvas, and how they’re often glossed over in favor of the overall impression. This piece, despite its identifiable central motif, is almost akin to a Jackson Pollack in composition, how it calls attention to the individual painterly maneuverings of its artist as opposed to suggesting itself as a single cohesive image. GOLDMEMORY120122945.3 is a tremendous composition, but to ignore the fact that it is a segmented and largely abstract work is doing it a disservice. Because, if we’re being frank, most abstraction tends towards a kind of exclusionary subtlety, or a sense of being guarded with its meaning. GOLDMEMORY120122945.3 is very clear in its content despite that content being captured in a mostly abstractionist style.
Though sections of GOLDMEMORY120122945.3 bear resemblance to recognizable motifs, the only unmistakable aspect of the piece is the woman’s face. The root system and cybernetic crown are all mental associations we make based on shape alone, and from those associations come this piece’s interest in capturing the evolution of life from organism to cyborg to, as mentioned, something as-of-yet without name. Maybe you and I have different reactions to this piece, but my immediate associations are of that machine/organic split, of royalty, of spiritualism (which strikes me as coming from the gold color palette, like idols of a Hindu God), of systems —circulatory, circuit, root— interweaving and expanding and growing into each other. All of that immediacy emerges out of the glut of polygonal relationships, of shapes juxtaposed with other shapes of a different nature; I get the sense that my reading of this piece has evolved not out of what is captured but out of the margins between what is captured. As an individual, that’s wonderful. As a critic-of-sorts, it’s dangerous to delve too deeply in individualism.
I wonder what I would find, however, if I gave this piece more time, more effort, zoomed in closer and interrogated it further. I now see a spot that seems to display a skull. I see another that might mimic a tree. What other shapes and associations hide within the details here? And why do I get that each section, if taken apart from the whole, would produce a different reading? We must confront the fact that there are an unknowable amount of separate artworks here. And whatever we’re seeing/thinking/feeling/observing is a matter of the many-faced confluence, and what bits of it our minds find time to identify.