June 13-15, CCCB Vestíbul Theatre
Keywords: Landscape Painting, Projection Mapping, Color Theory, Interactive Installation, Environment
I explore our perception of landscape by drawing attention to the relativity of our memories of the natural world, using multiple techniques as metaphors, proxies and surrogates to explore issues of permanence and impermanence. My artwork is developed within the studio walls, grounded in a sense of longing for nature.
My artwork explores our perception of the landscape by drawing attention to the relativity of our memories of the natural world. In the Moving Mountains series, I use projection to map fields of colored light onto paintings from the Untitled Marine Vistas series to change our perception of the landscape and draw attention to the relativity of color, using material and media as metaphors, proxies, and surrogates to explore issues of permanence and impermanence. Structured and iterated combinations of paint and projected light allow me to explore our relationship to representations of place and position. I use digital video projection as a source for colored light, which through its interaction with the elements on the canvas, the environment of the gallery, and the passage of time, changes the image perceived by the viewer. Manipulating the light which illuminates the paintings allows for the combinations produced by the programmed sequence I’ve created, by the intervention of viewers in the space, and the change of conditions in the environment of their display. Landmasses move not only along the x axis of the canvas, but also spanning time and three-dimensional space, emerging from traditional points of painted perspective within the canvas, and from pinpoint sources of digital projection. My work explores the borders between the real and the imagined, the physical and the perceived. Separating what is within from what is without, what is physically accessible from that which exists only within memory or imagination, serve as a point of departure for considering the role of not just the act of painting and the act of remembering, but the sea, the desert, the wind, the salt, the earth, and the light in this process—the way that the non-human elements exert their existence and connect us to history, time, and geography.
- Victoria Febrer was born in New York to Spanish parents and divides her time between New York and Valencia, Spain. Since graduating from the Cooper Union, where she received a full merit scholarship, her artwork has been shown in solo and group exhibitions in the U.S., Spain, Italy, Belgium, Ireland, and Japan. Her artwork explores our perception of the landscape by drawing attention to the relativity of our memories of the natural world, using painting, collage, and projection as metaphors, proxies and surrogates to explore issues of permanence and impermanence. Most of her work is developed within the studio walls and is grounded in a sense of longing dependent on frequent excursions to the mountains and the sea. Her sketchbook is a constant companion as she stops to take field notes when hiking, climbing, skiing, or sailing. https://Victoriafebrer.com