Pedro Blas

5 Bilder

"From the Water," a kinetic collection, fuses photography with dynamic art to explore Zurich’s static architecture and the flowing waters of the Limmat. Wave-like lines, vibrant colors, and shimmering highlights reflect the water’s fluidity and the city’s permanence. This harmony of movement and stillness evokes moments of reflection, blending the visual depth of both mediums.

6 Bilder

Limmat Water represents the different atmospheres of the urban space, from the Heart of Zurich to the outline of the waters that surround it. Architecture, landscape, nature, fauna, light, color, water and its movement, the different reflections and shadows, all of these work as an inspiration that I then represent within a visual concept. Characteristic of my style where I combine photography, painting, kineticism, and penetrable space. I seek to create optical illusions with respect to movement, inciting a visual curiosity.

Pedro Blas Garcia

4 Bilder

When our eyes encounter the world, we collect visual evidence that our brain ultimately resolves—by way of recognition and re-creation—into an image. Through a process heavily dependent on statistical inference, we collate this data into identifiable forms, and we call these collected forms our universe. “Dynamic Mirror,” an exhibition by Venezuelan-born artist Pedro Blas, interrupts this process of endless cognitive matchmaking by introducing forms that do not immediately reflect known quantities. His digital images displace rational environments and make our eyes “think,” creating optical landscapes where identifiable signatures of architecture and nature are repeated until they collapse into a space of uncertainty. In this new realm, these signatures no longer perform the task of representation, and instead create an optical bridge between known and unknown. by Amy Walleston

3 Bilder

When our eyes encounter the world, we collect visual evidence that our brain ultimately resolves - by way of recognition and re-creation - into an image. Through a process heavily dependent on statistical inference, we collate this data into identifiable forms, and we call these collected forms our universe. In “Neon,” I interrupt this process of endless cognitive matchmaking by introducing forms that do not immediately reflect known quantities. The digital images displace rational environments and make our eyes “think,” creating optical images where identifiable signatures of architecture and city lights repeat until they collapse into a space of uncertainty. In this photographic work, my focus was to work with light, specifically with the Neon lights of the Art Deco buildings in Miami Beach, and used the magic luminous lines that create diverse shapes and writings. I transformed the photographic material creating a palette of colors and assembled the different images shaping them into a luminous composition.