Since 2018, he has been working with two-dimensional formats superimposing two planes, one for the bars (lines) and another for solid surfaces (background). In the pieces prism are no longer dendrites branching, they are geometrized. If he made the emphasis on the connections of the issues in monochromatic colors in his first works, he now broadens the range of tones towards the warm and analogue ones. In the first plane, he places the neutral color bars, in black or grey, separated from the second plane where the fields of color are set.
Ever since the beginnings of times we have tried to explain natural phenomena through the eyes of sciences like math and physics, among other less specialized subjects. This way to view the world and represent the environment using abstract language with alphanumeric data and geometric figures have been strictly related to the arts. Nowadays, Alessandro Del Vecchio, a young Venezuelan artist, acquainted with such knowledge and deeply related to the technological advancaes, uses the parametric design and the Voronoi diagram as a support to project his artistic work. However, his proposal has a very specific component. Despite being based on calculus as the origin of his aesthetic ideas, the result is the complete opposite, as the figures tend to have certain organic effect and random order over the support. Del Vecchio alters the values of parametric design set by the computer program and then, by using the Vonoroi diagram, he creates divisions of space by regions, obtaining unexpected prism compositions.
He problematizes his artistic-formal proposal by separating the dividing lines of the inner areas. With this intervention, he creates new images according to the domain of the negative or the positive, i.e., the sides or the background. This is how the Patrones de divisiónI series was born in 2012 a series in which the lines branch freely over the acrylic or steel support.
Sometimes they are two-dimensinal insert sheets, or boxes, that can be seen from each of its four sides. In some areas, the lines are cut leaving empty bottoms to allow the entering of the light. In this way, there is a dynamic relation between the planes and the shadows projected.
Tamiz Orgánico and Deconstrucción were created in that time, made in mochrome colors restricted to red, black or white to highlight the figures and minimize the chromatic domain. In 2016, Galería G Siete in the Centro de Arte Los Galpones located in Caracas, exhibited a group of these first works individually.
Caja Voronoica, 2017, is another variation of the cubes that started in 2012. The design of the boxes allow assembling a tetrahedron, adapted to the wall or to the floor, like in Simbiosis, 2017, a work that expands and adapts to space. In Explosión, also from this same year, the artist takes the figures from the backgroud and eliminates lines to produce floating effects through the planes. In Superficie Voronoica he brings together acrylic sheets to give thickness to the material and achieve a depth in the figures.
Since 2018, he has been working with two-dimensional formats superimposing two planes, one for the bars (lines) and another for solid surfaces (background). In the pieces prism are no longer dendrites branching, they are geometrized. If he made the emphasis on the connections of the issues in monochromatic colors in his first works, he now broadens the range of tones towards the warm and analogue ones. In the first plane, he places the neutral color bars, in black or grey, separated from the second plane where the fields of color are set.
He creates a feeling of movement according to the viewer's placement, transitions by the incidence of the light and the shadows created in certain directions.
The format is expansive and does not restrict to conventional supports. They are structures that can be expanded indefinitely. These recent works are made in iron and just as the ones made in acrylic, they are cut with computer techniques for volume control.
There are two moments in the work process, the first being the creation in digital formats and the second one, the production with materials.
(Courtesy of Alex del Vecchio and Arte facto Revista Internacional)