"LA CONSTRUCCIÓN DEL SUJETO ROBADO. El arte hecho por mujeres en Alicante (1950-2020)" / Texto de PASCUAL PATUEL / pintura, arte geométrico digital y escultura by ILUMINADA GARCIA-TORRES (1949 Elche.España). Juan A. Roche Cárcel (Ed.) PUBLICACIONS UNIVERSITAT D'ALACANT / INSTITUCIÓ ALFONS EL MAGNÀNIM-CVEI. COMUNIDAD VALENCIANA, España, (Spain)
pág 53 ILUMINADA GARCÍA-TORRES. EL CAMINO DE LA ABSTRACCIÓN
Pascual Patuel Catedrático de Historia del Arte, Universitat de València
INTRODUCCIÓN
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Photo 5 Continuous Spatial Tracing XIV, 1992
As if piercing the marble of the Sleeping Ariadne sculpture and managing to reach the essence of its internal structure, she unraveled the purity of its compositional framework.
In 1986, ILUMINADA GARCÍA-TORRES spent several months painting the sculpture as a copyist. She did so again for two years, captivated by the hidden perfection emanating from this ancient sculpture. Between 1986 and 1988, she completed two paintings based on the original sculpture Sleeping Ariadne in Naxos. She shares her experience with the Prado Museum's Ariadne:
"I went to the Prado Museum looking for an image that would disturb me, and I found this sculpture. I painted it from the front first, but it kept seducing me; I painted it from behind, which felt daring. I returned more times, imagined a landscape in the background—a landscape that grew and changed as I painted it... and I know I will return to this Ariadne, because it is impossible for me to forget her perfection, her harmony, her mathematical control" (Fernández Cid, 1990 Diario 16: 34).
As ILUMINADA GARCÍA-TORRES penetrated its secrets, she transcended the subtlety and figurative drapery of the work, discovering the internal harmony hidden within the marble. Through the oil paintings she created there, she realized that this harmony posed a major question that would define her career. She discovered that this harmony invoked a geometric and mathematical cosmos which now guides the poetics of her painting. Determined to move beyond the sculpture's appearance, she sought a way to investigate and express this harmony in formal terms. She discarded the anecdotal wrapper to unveil and numerically code its constitutive sequence—or, in scientific terms, what we would call the keys to its genome, expressed in points, lines, spaces, and color.
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She deciphered that the harmony responded to a geometric and mathematical principle, and that beneath the figurative appearance lay complex laws of numerical proportion. This aspect underlies the very genesis of classical art, as the Greeks unveiled the inherent harmony that pulses behind human nature. Iluminada gradually discovered a formal code of mathematical relationships that would govern her future work. Her investigation of space has formally matured her proposals through an ever-increasing proliferation of formal series in rhythmic sequences. Reflecting on this theme after the fact, ILUMINADA GARCÍA-TORRES noted:
"Following my vision of the Ariadne sculpture at the Prado Museum—through the oil paintings of her image that I painted there—I became aware that her harmony, an alchemy of power and subtlety that impressed me so deeply and sparked my fascination, was not accidental. I discovered that this harmony invokes a geometric and mathematical cosmos which now guides the poetics of my painting.
Right from the first continuous spatial layout painting, Ariadne's Thread, the language of sensations and concepts is expressed, which I progressively develop toward harmony. This is achieved by capturing the layout of the line in space with a single gesture, expressing the instant constituted by line-space-time, within the proportional relationships of the dimensions of the structures—the square matrix universe.
Poetically, the projection of Ariadne's Thread onto the internal dynamics of the paintings flows between their lines. The uniqueness of each line traced in space is a step forward on the path toward light.
All my paintings constitute the expression of a single work that flows into the current of universal language" (I. García-Torres, 1995-2000²).
Our artist discovered an internal cadence of a geometric order in this work that would govern her future production from 1991 onward. The investigation of space has formally complicated her proposals with an ever-increasing proliferation of formal series in rhythmic sequences, parallel to the world of minimal music, ultimately leading to what she terms Continuous Spatial Layout. The pictorial action begins with freehand brushstrokes in colored lines, with dimensions proportional to the surfaces of the square matrix-mathematical units, executed in a single, meditated stroke. The brushstrokes are applied with a specific amount of pigment to create texture. Each line is a gesture that depends on her concentration, her physical or psychological state, etc.—in other words, an echo of herself carrying her emotional weight. It is also an "event" that determines the quality of the next brushstroke: the position, the direction, the path, the chromatic tone, and the quantity. These parameters determine the next step, establishing an infinite dynamic of successive geometric-pictorial conditions.
In March 2000, upon her return from exhibiting in London, she rented a studio-apartment in Alicante, which has been her place of residence in her hometown ever since. In the early summer of 2009, she moved to her current studio-apartment, which offers more space. Since her mathematical-geometric proposal Combinables in 1991, she made a major leap into the digital realm in 2002, integrating her work with new technologies applicable to the art of painting. Her career is marked by a clear desire to study the possibilities of mathematical proportionality, based fundamentally on three components: the point (pixel), the line, and a square-shaped base. Drawing on the experiences gained in Eusebio Sempere's classes, she combines the digital processing of the image with a few brushstrokes that recall her beginnings in abstract expressionism. The mark of the brushstroke gradually transforms into pixels that constitute a new structure for the line, while generating and enhancing new images in chromatic and geometric combinations. In her works, we can appreciate the variety of possibilities and formulations she has explored, remaining faithful to her principles of Normative, modular, and generative art that the computer offers.
KINETIC NEOGEOMETRISM
The proposals of ILUMINADA GARCÍA-TORRES offer us geometries of infinite development, thanks to chromatic combinations and computer imaging procedures. Here, the brushstroke of the past is now replaced by the pixel (picture element)—a point on a rectilinear grid with thousands of points processed individually to form an image on the computer screen. The final work is obtained through digital printing on large-format canvas using a plotter. The series of rhythmic sequences allow for a certain relationship to be established with the essence of minimal music. Its infinite development in the rhythms of brushstrokes...
page60 fotopág 60 foto 6 Trazado Espacial Continuo 12 al-180 x 90 cm 2001
page 61 foto 7 El hilo de Ariadna-combinatoria 11 A-2, 2003.
Photo 7 Ariadne's Thread-Combinatorics 11 A-2, 2003
...and color also recalls the expressive forms characteristic of the Eastern world. This combination of her lines, pixels, and colors generates the geometric framework characteristic of her work. However, the results are not a pure, hardline formalist abstraction—as seen in the historic avant-gardes of the 20th century—but rather, within these elements, we find echoes of a human heartbeat and poetic vibration.
She achieves an infinity of proposals. At first glance, this procedure might suggest that the machine replaces the artist in the creative process. This is not the case, because the painter's creativity resides in the programmatic rules she imposes through the software and in her choices among the multiple possibilities the computer offers. Therefore, she always retains full control over the entire development.
From this recurring starting point, she gave rise to a formal repertoire based on the serialized multiplication of structures in linear progression. She formulated a basic module, which she terms the square matrix universe, which was subdivided into smaller squares contained within the first. As Segundo García points out: "In the end and at its core, her entire work crystallizes into an essential square. A matrix square, a site of tensions where all formal relationships are mediated and geometric and mathematical events unfold—a rigorous structural circumstance, a cosmos of interdependence" (Segundo García, Director of the Museo de la Asegurada, 1993).
Nested inside these squares are the geometric shapes that ILUMINADA considers independent worlds, yet participants in the whole. They are perfectly calculated according to systems of proportion in their measurements. These smaller forms embody the concept of fullness and coexist with empty space. The relationship between full and empty spaces is dialectically active because it generates multiple types of tensions, determined by color, shape, number, direction, and so on. In this way, a grid is generated, defined by points of linear organization and structured around verticality and horizontality. This template serves as the starting point for ILUMINADA's experimentation and constitutes the basis of all her productions. From this grid, the different spaces that ultimately shape each work are generated:
Free space: the space contained within the square.
Full space: formed by the geometric elements of the point and line, as well as the figures they configure.
Empty space: when no integrating elements appear.
Harmonic space: the result of the interaction between the different elements that make up the artistic work, such as color, shape, direction, etc.
Open space: the container of the entire work.
Page 62 Left Page (62): Right Page (63) Photo 8 Ariadne's Thread-Musicality New York 64, 1991-2011
The artist herself, ILUMINADA GARCÍA-TORRES, explained her formal frameworks based on the square—a system of subdivisions establishing proportional relationships with the geometry of the lines, which encompasses the entirety of the content. In her theoretical reflections, we read:
"I call the squares that contain the lines the 'square matrix universe.' The structures, whether imagined or represented with points or lines, serve as a guide for the composition and can constitute a single or partial visual representation. These structures can be grouped together or subdivided, forming new square structures with different dimensions that give rise to new compositions.
The elements—the point, the line, and the shapes they generate—can be interpreted as independent worlds that, in turn, share the same meaning we attribute to the whole. Therefore, each element participates in the whole, and
foto 7 El hilo de Ariadna-combinatoria 11 A-2, 2003.
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the whole is contained within the essence of a single element. I find the full meaning of space within the 'square matrix universe' in the relationships that occur with the elements captured within its structures" (García-Torres, 2002: 20-21).
The matrix square acts as a mathematical environment. Nested inside it are the lines, which Iluminada considers independent worlds, yet participants in a higher totality. They are perfectly calculated according to systems of proportion in their measurements. These forms embody the concept of fullness and coexist with empty space. The relationship between full and empty spaces is dialectically active because it generates multiple types of tensions, determined by color, shape, number, the direction of the lines, and so on.
From this orthogonal framework, geometric shapes emerge with the help of points and lines, eventually generating infinite and continuous series that maintain proportional relationships with the intermediate spaces. The structures can unite with one another or subdivide into others of different dimensions. Regarding this basic module, she commented:
"When painting, I encounter the space of the matrix square with the divisions already made. I resolve this free space (the background) by painting it with a single color, or with variations in tone, material intensity, etc., or by forming different color planes with the structures."
Both the chromatic execution and the technical finish of this space's surface will prompt a wide range of suggestions for the lines subsequently painted over it, ultimately granting more freedom to the line as the ideal element to express its layout.
"I believe that the strength of pictorial expression lies in the action of a single brushstroke to interpret each line. Because each line is expressed in a single stroke, each one is unique, distinct from the others [...] The criteria outlined, along with their expression through color, grant freedom to the composition, leaving its experimentation open to inspiration" (I. García-Torres, 1993).
With these premises, she offers geometries of infinite development. This is achieved through chromatic combinations and, since 2002, through the possibilities of computer imaging, where the brushstroke of the past is now replaced by the pixel (picture element)—the smallest homogeneous unit of color within a digital image, or a point on a rectilinear grid of thousands of points individually processed to form an image on the computer screen. This image is finally materialized through digital printing on large-format canvas with the help of an industrial printer. Through this, she achieves a triple impact across different movements of pictorial modernity: her connection to cybernetic art through the use of the computer as an artistic tool; her incorporation into the long-standing abstract tradition through formal reductionism to structures of geometric origin; and, finally, her research in the field of kinetic art in its Op Art variant, by virtue of using certain optical procedures that generate virtual or apparent movement in the viewer, such as the use of repetitive serialized structures, overlapping grids, or contrasting colors that succeed in generating optical vibrations on the viewer's retina.
PROPORTION AND HARMONY
At this point in our reflection, it is worth emphasizing the idea that the aesthetic based on the work Ariadne's Thread lies precisely in unveiling the proportion and harmony with which the universe is configured—or, in other words, in evoking a controlled arithmetic. We are looking at art understood as a spatial sequence subjected to mathematical rhythms of serialization through the use of interactive modules and chromatic variations of exquisite Mediterranean vibration. As Isabel Tejeda points out: "these are obsessively drawn lines analyzing the rhythms that emerge along the path of their layout, within the proportional relationships established with the space contained inside the modules. Modules which, according to her, hide the laws of harmony beneath their mantle" (Tejeda, 2001).
The Greeks were already looking in this direction, as they developed a deeply humanistic culture whose proportions follow those of the human body, given that man—as Protagoras notes—is the measure of all things. For the Greeks, the very practice of architecture and sculpture was the result of a harmonious mathematical calculation or canon (kanon), understood as a set of formal relationships regulating the different proportions of the parts of an artistic work.
Thus, the artist from Alicante has managed to transcend the reality of classical art and look beyond—
PAGE 64 PHOTO 9. Ariadne's Thread-Music-Universe 72, 2011.
...from the recreation of nature, to discovering the beauty that hides behind mathematical order. Starting from the Ariadne sculpture at the Prado, she has managed, first of all, to discover the internal order that pulses within this fascinating classical culture—which serves, to a large extent, as the melting pot of our Western culture. Secondly, she has translated this numerical harmony into a contemporary language within the realm of geometric abstraction, incorporating kinetic nuances and utilizing the computer. Therefore, her merit lies in her capacity to see through and harmonize Greek aesthetics with modernity and technology placed at the service of art. Yet, her painting is not a cold painting exclusively dedicated to exploring the ideas of proportion and symmetry; she has successfully infused it with her character as a Levantine and Mediterranean woman. Above the pixelation and the Cartesian organization sails color, the firm stroke of the brush, and the chromatic harmonies of an artist who feels and lives the light of our geography. Just as Joaquín Sorolla or Emilio Varela did in other times, she projects this chromatic harmony onto her canvases, reclaiming a long-standing Mediterranean tradition. As she herself states: "Ariadne's Thread is the guiding thread of my painting and my reflections, through the systematic application of the concept so that each work maintains its growing potential. All my paintings constitute the expression of a single work that flows into the current of universal language."
ILUMINADA GARCÍA-TORRES has been able to perceive and work with the aesthetic aspects offered by the graphics of musical notation. The musical staff or tetragram form the linear framework onto which she deposits musical "signs," as if attempting to evoke the true script of this language. We are, therefore, before an interactive space that generates an integrating harmony of all elements, with effects close to Op Art, though achieved with the help of the computer. Hence, her work presents objectives of a kinetic nature, suggesting all kinds of virtual movements.
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...(kinetic nature, suggesting...PAINTING AND SCULPTURE SERIES
Her career has been structured around different series, in which she addresses diverse themes, either strictly conceptual in nature or inspired by specific contexts. She successfully translates these mental reflections or particular environments into a geometric language, whether through traditional craftsmanship or the use of the computer. Attentive to multiple modes of expression, between 1994 and 1995 she also investigated the screen-printing technique at the Brita Prinz Workshop and Gallery in Madrid, following the same premises as her painting technique.
Within the career of ILUMINADA GARCÍA-TORRES, the body of work titled Ariadne's Thread – COMBINATORICS stands out. These are pieces of digital geometric art created throughout 2003–2004, comprising a total of 100 works on large-format canvas (90x180 cm) for the Hospes Amérigo Hotel in Alicante. ILUMINADA GARCÍA-TORRES engaged intensively in cybernetic work to develop a project that continued the line of research she had initiated earlier in 1991. For their printing, she acquired an industrial plotter from the Mac Iris company in Alicante in 2004. The first 20 digital geometry works were printed at a graphic arts company in Alicante for the catalog and presentation exhibition of the Amérigo Art Collection for the hotel, which took place at the Alicante Municipal Arts Center in December 2003 (AA.VV., 2003).
The decision to create the artwork for the Amérigo Hotel using electronic media and computer design software was made when a manager of the future establishment visited her Alicante studio in 2003. In 2002, ILUMINADA GARCÍA-TORRES had attended the Graphic Art and New Technologies Symposium organized by the Calcografía Nacional and Banco Bilbao Argentaria (Ubani, 2018), and she realized she should present her research in new technologies by printing them via digital print. It was a brave and risky decision, as there was a danger that this procedure would not be accepted and the commission would fall through completely. In her own words: "These are one hundred digital images on canvas (90 x 180 cm) in which I interpret the free and poetic reading of this stage, like the visual construction of utopia through—with the energy of each moment—the combinatory unit of light-time-space-line" (Sáez-Angulo, 2004: 2).
Her interest in monographic themes has led her to draw inspiration from the urban contexts of various cities. ILUMINADA GARCÍA-TORRES captures the essence of these environments and translates them into a geometric key, without neglecting to portray the inherent dynamism of these densely populated areas. These are digital works based on points and lines within the square, combined with other strictly pictorial pieces featuring a meditated, gestural brushstroke and exuberant chromatism. These series have been produced over the years and were first exhibited in 2009 on the occasion of her retrospective exhibition at the Santa Bárbara Castle in Alicante. The lines traced in the paintings configure horizons that expand into cartographies of musicality. They express a perception of different cities through variables generated on the computer using successive algorithms until achieving the harmony of each digital geometry image represented in the diagrams.
Environments such as China, Africa, the United States, India, Europe, Japan, Nepal, and Latin America have all filtered through her sensibility. ILUMINADA GARCÍA-TORRES has not overlooked the great fascination with the North American world, which is reflected in the New York series. Her interest in Asian environments has materialized in the series titled Tokyo, Beijing, or Bombay. The Mumbai-Bombay series emphasizes circles in the style of Eastern yantras, many of them placed within squares or rectangles. It evokes sacred Hindu diagrams used in Buddhism to represent the structure of the universe and the human being as a microscopic replica of the macrocosm. These worldviews are usually organized into circular shapes since the circle, inscribed within a square, evokes both the macrocosm and the microcosm. She creates a geometric abstraction of its physiognomy and captures its organizational structure around a central point (bindu), the essence and creative matrix of the universe. She is interested less in the religious content of the source and more in its internal geometric order and its capacity for infinite spatial development. [1]
In the realm of three-dimensionality, ILUMINADA GARCÍA-TORRES has developed an activity parallel to her painting, yet intimately related to it by virtue of the mathematical and geometric calculation she has used since 1991. That same year, 1991, when she initiated Combinables and Ariadne's Thread, she began working with steel and iron to craft structures based on the convergence of the cube and the cylinder. We are looking at a transposition of geometric landscapes into the three-dimensional terrain. The series titled Combinables allows for an articulation of space through flat shapes, curves, and the...
PAGE 66 PHOTO 10. Ariadne's Thread-Musicality-Latin America 9Ach, 1991-2015.
...vacant space, where an integration of geometries originating from the aforementioned cubic and cylindrical figures takes place.
The cube and the cylinder complement each other. Since the cylinder's base is a circle, its diameter matches the side of the cube to achieve proportional harmony and its full integration into the whole. It is a spatial system where the configuration structures dialogue through their different dimensions and numbers to achieve unity. The presence of the circle and the primacy of verticality or horizontality modify the natural stability of the cubic system, shaping balanced rhythms and harmonic geometries. This same concept of metallic combinables is realized with other materials. ILUMINADA GARCÍA-TORRES participated in a workshop organized by the Eduardo Capa Foundation in 2000. This institution has been linked to contemporary Spanish sculpture for decades. From its creation in 1998 until 2004, its headquarters were located in the...
PAGE 67 PHOTO 11. Combinables A, 1991
...Santa Bárbara Castle in Alicante. Her experience with grog clay (gres chamotado—clay granulated with brick dust, firebrick, or another fired ceramic product) lends it a highly textured, rustic quality. The result is a series of three-dimensional works in this material that capture the combinatorics of the cube, the cylinder, and displaced space, all interacting with light. These productions draw from the same source as her metallic sculptures, yet they allow for the incorporation of highly expressive textures. They develop the same dialectic of formal contrasts across open curved planes or hermetic shapes, finished with various colored patinas. On the occasion of an exhibition, ILUMINADA GARCÍA-TORRES commented on her three-dimensional proposals:
"In a natural yet urgent way, I needed to express myself through sculpture, using the cube and the cylinder in their integration as the core elements for its realization and development. The internal projection of the 25 squares into which each side of the [cube] is subdivided..."
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PHOTO 12. Combinables-Geometric Words, 2001.
RIGHT PHOTO: 13. Combinables. Energy Axis, Plaza de San Juan, Elche, 2002.
...matrix cube, produces 125 cubes (modules) within its structure.
"Within the 125 modules shaped inside the matrix cube is where the relationships and the integration of the modular elements with each other and with the cylinder (or the elements they generate) are established.
This modular concept of sculpture has an 'infinite' dimension and a 'continuous' development.
The modules can join together to form larger ones, subdivide, or leave one of their faces open to act as a container for other elements, etc." (I. García-Torres, 1993).
In 2002, ILUMINADA GARCÍA-TORRES installed her sculpture Combinables: Energy Axis in the Plaza de San Juan in Elche. This piece synthesizes all her pictorial research, here applied to a three-dimensional context. It carries out a process of deconstructing cylindrical and cubic elements to reach a harmonic synthesis, developing a formal dialectic among them that transcends their individuality. The steel gleams under the sun, while the shadowed geometries create a luminous contrast. This produces effects close to the kineticism observed in her paintings. The sculpture constructs a volume composed of polished, smaller pieces of bronze and steel alongside empty spaces. It visually accompanies passersby through the plaza, enveloping them in a balanced symbiosis of rationality and emotion.
CONCLUSIONS
A global assessment of ILUMINADA GARCÍA-TORRES's entire career leads us to place this artist within the realm of neogeometrism with a kinetic tendency, which developed in Western art within the context of postmodernity. Her career is driven by an evolutionary logic that has allowed her to advance and mature in the field of visual arts with remarkable coherence. Her early figurative trials, which had a more naturalistic orientation, gave way to a style of hyperrealistic work inspired by her teacher Antonio López, which she developed over a period of about 20 years. The impact of Eusebio Sempere’s classes eventually reoriented her career toward the field of geometric abstraction with a kinetic imprint, achieving a coherent maturity by the 1990s.
Ariadne's Thread is the overarching name for all her subsequent production, which she developed after internalizing the Sleeping Ariadne sculpture at the Prado Museum—a 2nd-century AD Roman copy of a Hellenistic Greek original. Our artist does not reproduce the physical materiality of the work; instead, she transcribes its internal order and formal harmony into her unique kinetic language. Her subsequent production remains deeply permeated by this new rationalist spirit, which organizes the entire content of her paintings and sculptures with the ultimate goal of creating spaces of clear virtual kineticism. This process was further enriched by her use of the computer starting between 1991 and 2002, allowing her to study the possibilities of mathematical proportionality based fundamentally on three components: the point (pixel), the line, and the square shape. The final product is realized through digital printing with the help of a plotter.
PAGE 70 "The Construction of the Stolen Subject"
Art Made by Women in Alicante (1950-2020).
Text by PASCUAL PATUEL, Professor of Art History, Universitat de València / ILUMINADA GARCÍA-TORRES. THE PATH OF ABSTRACTION
BIBLIOGRAPHY
AA.VV. (2003): Colección Amérigo. El Hilo de Ariadna – Combinatoria. Iluminada García-Torres, Centro Municipal de las Artes, Alicante.
ÁLVAREZ ENJUTO, José Manuel (1993): «El arte como razón de ser», en Combinables. Iluminada García-Torres, Fundación Cultural CAM, Alicante.
CALLE, Román de la (1981): «Las coordenadas de la plástica actual», Las Provincias, Valencia, 16 de julio; «La conciencia histórica en la plástica actual», Las Provincias, Valencia, 30 de julio; «Los fundamentos sintácticos en la plástica actual», Las Provincias, Valencia, 13 de agosto; «Los "supuestos creativos" en la plástica actual», Las Provincias, Valencia, 27 de agosto.
FERNÁNDEZ-CID, Miguel (1990): «La pintura intimista e individual de Iluminada García», Diario 16, Madrid, 5 de diciembre.
GARCÍA, Segundo (1993): «Un cuadrado», en Combinables. Iluminada García-Torres, Fundación Cultural CAM, Alicante.
GARCÍA-TORRES, Iluminada (2002): «El hilo de Ariadna. Trazado espacial continuo», en Iluminada García-Torres. El hilo de Ariadna 1991-2002, Ayuntamiento de Alicante, Alicante.
GARCÍA-TORRES, Iluminada (1993): «Intentando explicarme las causas...», en Combinables. Iluminada García-Torres, Fundación Cultural CAM, Alicante.
GARCÍA-TORRES, Iluminada (2002): «Reflexiones Iluminada García-Torres», en Iluminada García-Torres «El hilo de Ariadna», Ayuntamiento de Alicante, Alicante.
PATUEL, Pascual (2013): «La Neoabstracción geométrica en la época de la democracia», en Los últimos 30 años del arte valenciano contemporáneo (III), Real Academia de Bellas Artes de San Carlos, Valencia.
SÁEZ-ANGULO, Julia (2004): «Iluminada García-Torres da vida al Hotel Amérigo de Alicante», El Semanal Digital, 11 de diciembre.
TEJEDA, Isabel (2001): «Entre el uno, el dos y el tres», en Iluminada García-Torres, Ajuntament El Campello.
UBANI, Fabiola (2018): «Arte gráfico y futuro –digital–»,
ASRI. Arte y Sociedad. Revista investigación, núm. 15. créditos editoriales Editor: Juan Antonio Roche Cárcel Colección: Monografías. Materia: Historia del arte. Editorial: Publicaciones de la Universidad de Alicante.
EAN: 9788497178129. ISBN: 978-84-9717-812-9. Depósito legal: A 256-2023
Páginas: 288 Ancho: 21cm Alto: 29,7cm Edición:1 Fecha publicación: 13-06-2023 institució alfons el magnànim / centre valencià d'estudis i d'investigació [75anys] PUBLICACIONS UNIVERSITAT D'ALACANT GENERALITAT VALENCIANA - Conselleria d'Educació, Cultura i Esport / TOTS A UNA veu / CONSORCI DE MUSEUS DE LA COMUNITAT VALENCIANA / CCCC (Centre del Carme Cultura Contemporània) "La construcción del sujeto robado" El arte hecho por mujeres en Alicante (1950-2020)./ texto de PASCUAL PATUEL / obra de ILUMINADA GARCÍA- TORRES Publicacions de la Universitat d'Alacant 03690 Sant Vicent del Raspeig publicaciones@ua.es https://publicaciones.ua.es Teléfono: 965 903 480 Institució Alfons el Magnànim CVEI 46003 València contacte@alfonselmagnanim.com http://alfonselmagnanim.net Teléfono: 963 883 169 © los autores, 2023 © de esta edición: Universitat d'Alacant i Institució Alfons el Magnànim ISBN Universitat d'Alacant: 978-84-9717-812-9 ISBN Institució Alfons el Magnànim: 978-84-1156-021-4 Depósito legal: A 256-2023
Imagen de cubierta: Aurelia Masanet Diseño de cubierta: candela ink Corrección de pruebas: Antonio Caballero Composición: Marten Kwinkelenberg Impresión y encuadernación: Quinta Impresión
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"La construcción del sujeto robado" (2023), published by Publicaciones de la Universidad de Alicante and Institució Alfons el Magnànim, examines art made by women in Alicante from 1950 to 2020. The volume features text by Pascual Patuel and artwork by Iluminada García-Torres, supported by a extensive bibliography on regional contemporary art. Detailed publication information is available from Publicaciones de la Universidad de Alicante.
Iluminada García-Torres’s geometric-digital artwork transforms urban and global landscapes into an infinite mathematical continuum, where lines, grids, and computer variables map geographic realities into visual musicality. The core concept relies on a "mathematical unit-matrix square" with four communicating horizons that form a "continuum" of visual rhythms, as seen in her exhibitions spanning from 1993 to 2015.
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