Art as a means of knowledge

This idea has influenced Pacorrosa’s career conceptually since his earliest artworks. It led him to expand his art activity outside of the conventional fine art scene such as museums and galleries.

During his career Pacorrosa has developed different ways to make and exhibit art. His aim is to expand the action radio of Art to the general public, making art works in public spaces, for example landscaping. He uses Art as a tool to acquire new knowledge in different fields where creativity is essential. Sketch for a Satellite is by and large the biggest piece of art he has conceived, not only due toits dimensions, but due to the transcendent nature of its design. He has built bridges between science, technology and art, using nature as a canvas where live materials take their own course. This is an essential concept of Bioart.

Pacorrosa is a multidisciplinary artist in full swing with over 20 years of experience. He has worked in film and television as a director and editor with a constant thirst and curiosity for new art techniques. With an international career he has worked in different countries, accumulating a multicultural experience. His work is exhibited in various collections around the world.

Artist Statement

The concept of “Biocosmos”, my interest for science, macro creation and large-scale paintings that I am make nowadays.

I have pursued this interest in art and science by working with youth offenders in London on an artistic/scientific project that designed and created a brain mural labyrinth that enabled them to learn about empathy.

I am currently developing this theme further in collaboration with neuroscientist Dr. Tom Farrow at the University of Sheffield. The aim is to use art to teach and conduct research on empathy, emotion regulation, deception, social cognition and facial feedback hypothesis.

I am interested in the concept of contemporary landscaping and public art. Currently I am researching macro-creations and the concept of bio-art: public art that is viewed from the air or via satellite, as part of this enquiry. I am making a series of large-scale paintings on the ground where the creative process is filmed and exhibited in real time.

From the beginning of my career I have considered the creative process as the most important part of art: developing the action painting in new directions. I am also working with small scale, three-dimensional paintings juxtaposing different formats.

I research art from a painting perspective, expanding this concept to video, photography and sculpture, blurring the boundaries and creating mixed works, using intense colours. My main inspiration is to observe how macrocosmic structures behave in the same way as microcosmic ones. I call it “biocosmos” as in a fractal way the part explains the whole, this is my link with science. I am also inspired by artistic historicism, I have worked on conceptual art, and this also feeds into my practice.

I belong to a generation of artists who work with painting without forgetting new artistic and technological cyber-culture. I have always been very passionate about art and the environment I grew up in was very creative. I started to paint at a very early age and when I decided to start my professional career it was based on the idea that art can be used as a means to knowledge. This viewpoint is still present in my work.

The beginning XX century:

From the beginning of my professional career I was inspired creatively by the concepts of micro and macro and how the cosmos and biology behave similarly, following the same pattern. I called this artistic practice Biocosmos. This investigation has fascinated me since I was a child. Soap bubbles amazed me. At the time I related this to planetary movement. My older brother and myself were interested in the cosmos. Our father who was a classic sculptor had influenced us. At nine years old I made a drawing of an arm and underneath the skin were planets and stars. This drawing awakened the curiosity of my father and his colleagues. They asked me about the drawing. They were engaged in an on-going dialogue about holism: that a part behaves as the whole. They asked me if I had got that idea from TV or school? I explained about the soap bubbles. As a result I became interested in nature and the cosmos, asking my science teacher many questions and reading books and encyclopaedias.

I remember my father drawing comparisons between traffic and blood circulation; cells and people; planets and electrons. He would always add, “just like in your drawing”. His colleagues also often talked to me on this theme. One of them, Angel Parejas, an embroiderer and leather maker convinced my father to teach me some techniques in his studio. He gave me some philosophical context and explained that the cosmos is represented geometrically in la Mezquita de Córdoba and in our Mozarabic tradition. He described mathematics and geometry as the language of the universe.

When I decided to work professionally as an artist I revisited this theme. My previous art training had been classical. I started with a research intention of exploring “biocosmos” using painting to understand chaos and to observe how microcosmic and macrocosmic structures follow the same behaviour patterns. Bearing in mind that oil based and water based paints do not mix, I created paintings as an experiment where the process was more important than the result when the painting dried. I made organic and cosmological compositions on a horizontal plane rather than on a more conventional vertical plane, using the polarities present in nature such as positive-negative, cold-hot, day-night, and so on. I applied fluid oil colours mixed with fluid watercolours. The resultant wet mutable paint universe was influenced by gravity, density and temperature, amongst others. This painting series included some studies in sociology, philosophy, chaos theory and mass media communication to illustrate my conceptual artistic evolution regarding the “biocosmos” concept.

This conceptual aesthetic research is essential in my career. The idea of using a camera as “third eye” to become a part of the art piece during the process of creation, came from my practice of observing this painting process from above. This painting series, “biocosmos” inspired the process of macro painting that I am currently developing. Soon after “28,8m2” described below, I associated satellites with the “Third Eye”, conceiving Sketch for a Satellite, a large landscape bio intervention using land art as a technique to make a piece or art on 74.000 square meters of land. This was the minimum size of land I needed to use in order to produce a visible drawing according with the resolution of satellites.

28.8m2 action’s macropaintings

‘28,8m2’ is a project realized in 2006 consisting of two macropaintings of 28.8 square meters, with the process of creating presented as a performance. The viewer could see this work in real time as it unfolded, filmed by closed circuit video and then projected. It showed the relationship between public and private space, as the viewers could view the projection outside the warehouse and see what was happening inside, the painting creation. When the spectator approached the projection screen they could look through slits at what was happening on the inside however they could not view the painting itself. This technique is the fusion of the painting and the audio-visual process, to create paintings. It is the prelude to ‘Sketch for a Satellite’.

LIV_MCD Sketch for a Satellite (press release)

Bio-Art by Pacorrosa

In an historical period as ours, when visions are changing, we are able to perceive the limits of the current social and ethical sense. Awareness is being raised of the need to watch over an appropriate and sustainable living space. Ideally, it would provide decent conditions for human beings, making it possible to preserve Mother Earth and its biodiversity.

“LIV_MCD Sketch for a Satellite” is a fully contemporary piece of work. It provokes reflection in its conceptual dimension and in its connection with the earth.

It is not fashionable. It is carried out altruistically, trying to transmit a message for a new era, which needs to be based in sustainable ecology. The artist works outdoors, replacing the farmer to become a draftsman, creating an aptly ephemeral work of art, where the geometrical and the organic interact in natural growing biological cycles.

We are unable to transmit the real individual experience of artistic contemplation, authentic and irreplaceable as a generating device of ideas and emotions. However we will try to describe its symbolic elements as a gateway to it:

– Spiral forms are natural growing patterns that permeate nature and the figure of the human foetus does not need explaining for its clarity. Both convey the concept of natural and human nature as eminently creative ones.

– The heroic technique chosen by the artist is based on natural and real growth to create the work. He has sown wheat in the supporting space, to later draw these symbols so that the spectator gains some kind of emotion or experience.

“LIV_MCD Sketch for a Satellite”, as one could infer from its name, is an action leading to aerial observation, using the actual land as a canvas. This megadrawing takes up a total area of 74.400 m2.

It is not random that the star spectator chosen by the artist is a satellite. Its main aim is to observe and to provide images and information. It helps and controls, whether as an environmental tool or as a spy above our heads. In this particular case, its role is that of a receiver/spectator. In the author’s own words, this work represents the human essence, both natural and abstract; it is an “offering to the satellite, to be received by any intelligent being, in or out of our own planet”. A real statement of intent. Pacorrosa takes a stand about the need for awareness about living wisely. One can easily perceive this in his piece of “Bio-Art”, which is filled with nuances and suggests a somehow outside-inward vision. He is able to create a piece of work that communicates in situ a timeless poetic mystery, trace of a sensitive and creative intelligence, away from justification, as a true example of Free Art.












2 thoughts on “Art as a means of knowledge

Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>