Introduction
Damián Ortega was born in 1967 in Mexico City where he received no formal education, yet created witty political cartoons that gained traction. His work evolved into cosmological scale installations that create conceptual commentary on social, economic, and political implications of material culture. Among this style of work, Controller of the Universe (2007) emerged. This large suspended installation explores the relationship of traditional tools such as saws, hammers, axes, etc., as opposed to the object’s isolated function. These tools point outward from the vortex revealing an eruption of energy. Parallel to Ortega’s evolution of art style, art movements have evolved and influenced the creation of art.
Ortega’s contemporary installation, Controller of the Universe (2007), is applicable to the various movements over time: Realism, Formalism, Expressionism and Cognitivism, as well as Postmodern Pluralism. The use viewing distance of Controller of the Universe influence the perception of its value of beauty in the Realism movement. The suspended tools are like a surreal paused explosion that embrace the value of the elements and principles of design to evoke aesthetic responses emphasized in Formalism. The media selection of tools evokes an emotional response and provides knowledge of the world through Expressionism and Cognitivism. The arrangement of tools activates the viewer’s participation by warping time and space to complete the meaning conveyed in the piece as seen in Postmodern Pluralism. Today, Controller of the Universe can be used in the art classroom to stimulate critical thinking through a thematic lesson plan, connections to visual culture, and interdisciplinary relationships.
Realism
Given the varying philosophical theories embedded in Realism, the viewer accepts Controller of the Universe differently for its value of beauty when the viewing distance changes. When viewing the piece up close, it becomes evident that the explosive piece is composed of tools, yet from a distance, the tools become abstracted and take on the form of lines. This encourages the viewer to see the holistic composition of the tools.
When altering the viewing distance, the use of formal qualities creates a new composition where the emotion is showcased, which aligns with Aristotle's beliefs of beauty in realism, but not Plato’s. Plato did not admire art because he believed there was an unknown and superior reality and art moves the possible conceptions of this reality further from coherence by creating powerful emotional responses. Yet if Plato saw Ortega’s work up close where only one preexisting object is within the scope of the viewer’s lens, he might claim that there is more beauty within the art compared to ancient Greek sculptures, such as The Discobolus (460-450 BC), because the tools do not mimic current reality, but are reality. In Controller of the Universe, the tools are not thrice removed from the unknown and superior reality, but twice removed.
On the other hand, Aristotle believed that the emotion conveyed in art exemplifies the beauty of preexisting objects. In this case, “The artist does not simply copy nature, but celebrates it" (Terry Barrett, 2017, p. 24). From afar, poetic implications arise that would be lost if viewing a tool alone. In Aristotle’s theory, the collection of tools in Controller of the Universe communicates emotion that aligns with his ideals of beauty. Ortega cleverly uses the scope of the viewer’s lens to appeal to multiple theories of beauty that overall classify his work as superiorly beautiful.
Formalism
In Controller of the Universe, Ortega effectively uses the elements and principles of design to evoke the circular process of identifying significant form and aesthetic responses embedded in Formalism. Ortega considers how scale influences the viewer’s experience as well as the metamorphosis of formal qualities when viewing the artwork from different distances and directions. When the formal qualities transform, an aesthetic response is raised to indicate that significant form is present.
When looking at Controller of the Universe from a distance, a repetition of tools is displayed with radial symmetry, which create a sense of unity. At this distance, each tool mimics a straight line to create line direction aiming outward, yet on closer investigation, each tool has a rough and jagged texture communicating danger. When walking around the outside of the sculpture, one cannot escape the rough-textured tips of the tools that face outward. Because of the absence of tools in the center of the sculpture, the viewer is invited to position themselves in the vortex, center of the installation. From this position, the viewer metaphorically pushes the tools outward so that they feel safe and in control. By consciously creating a sphere-like installation, the form is transformed where there is no sanctuary aside from the one moment where the viewer reaches the vortex. The evolution of the viewer’s experience with the encompassing installation retains a sense of wonder.
The subconscious aesthetic response of interest indicates that significant form is present. Aesthetician Clive Bell states that identifying significant form is circular. If there is significant form, then an aesthetic response will be evoked, and the inverse applies, which claims that if there is an aesthetic response, then significant form is present. Form can create an emotional response that inherently communicates beauty. This ideal relies on Aristotle’s belief that emotion is beautiful yet cannot be mistaken with Formalist belief that Realism is the only mode to communicate beauty. The knowledge accumulated through the association of tool usage may influence the meaning of the work; however, by stripping the known knowledge of tools, the viewer still reacts similarly because of their innate response to sharp and coarse forms. Clive Bell (1928) reinforces the value of the aesthetic response with significant form in art by stating “I have no right to consider anything a work of art to with I cannot react emotionally; and I have no right to look for the essential quality in anything that I have not felt to be a work of art” (p. 9). Through the Formalist lens, Ortega’s use of the elements and principles of design solidify that significant form is present due the strong aesthetic response stimulated.
Expressionism and Cognitivism
Ortega’s selection of traditional tools provokes an emotional response founded in Expressionism and insight of the world supported by Cognitivism. Although Expressionism and Cognitivism are movements that occurred simultaneously, they both have separate aims. In Expressionism, artists use their emotions to arouse feelings in the viewer whereas in Cognitivism, artists claim that art expresses the ways of the world, and knowledge would otherwise be lost without it. As opposed to viewing Controller of the Universe through a Formalist lens, the associations the viewer has established with the tools are valuable to Expressionism and Cognitivism.
Ortega uses the composition of the tools to create a duel experience based on the viewer’s position. While creating Controller of the Universe, Ortega often experienced being in control through intimately obtaining possession of the tools and out of control by being attacked by possessionless tools. The composition of the installation creates the poetic idea that tools can create as easily and they destroy (Controller of the Universe, 2007). This duel property of the tools creates the emotional contemplation of complex emotions. This contrasted interaction embodies Ortega’s personal emotional experiences. Ortega creates a similar emotional experience for viewers of Controller of the Universe as they walk around the piece which embodies Expressionism.
Additionally, this duel property encourages the viewer to analyze the social and economic implications that influence our interaction with the world. “Calling into question the identity of objects, tools are used as representations of work and labour processes, and as 'bridges' between humankind and nature” (Cube, 2019). This concept supports the movement of Cognitivism where art provides knowledge that would otherwise be lost. Although Expressionist philosopher Leo Tolstoy claims, “The purpose of art is not to make us smarter, but more humane” (as cited in, Barrett, 2017, p. 68). Controller of the Universe makes the viewer both smarter and more humane.
Postmodern Pluralism
As a key component to the movement of Postmodern Pluralism, the viewer becomes active and essential when viewing and interpreting Controller of the Universe. When viewing Controller of the Universe through prior movements, the scope of the viewer’s lens changes as the viewer moves closer to and further from the piece. From the outside, Controller of the Universe is frightening yet Ortega invites the viewer to the central point of safety. The tools are suspended with wire yet appear as though they are frozen in time and space. When occupying the space in the center, the viewer gains the power to defy the scientific laws of gravity.
The viewer mystically freezes time and space through human experience. “Here, tools can be understood as symbols of humanity’s desire to shape and control the world, yet this purpose is ultimately subverted by the subjective ordering of the work’s components” (Guggenheim). This juxtaposition of scientific phenomenon and natural ability agitates the human viewer as they realize their degree of control. As Charles Jencks (2007) states, “It is the destructive-creative method of overturning categories and shocking an audience into awareness” (p. 159). At this moment, the viewer becomes responsible for completing the interpretation of the piece. The viewer might realize they do not have the amount of control to possess such strong abilities, or that with enough dedication they will be able to overcome such tribulations.
The value of the experience of participating in Controller of the Universe is that the viewer has the power of choice. As reinforced Teri Barrett (2017), “One aesthetically investigates works of art in order to come to one’s own sense of the value and meaning of the work” (p. 177). Without the Postmodern Pluralism lens, the viewer becomes sedated by explicit artistic intentions. The ebb and flow of control felt when participating in Controller of the Universe lends itself to the control given to the viewer through the Postmodern Pluralism lens.
Teaching Application
Controller of the Universe can be used in the art classroom through thematic lessons, visual culture connections, and interdisciplinary relationships. After viewing Controller of the Universe through various movements over time its valuable theme of gaining self-control becomes evident. A lesson plan would involve students juxtaposing how they feel in and out of control by using different techniques without changing the content. Students would use a collection of grayscale drawing materials, such as pencils, charcoal, and pens, to create a diptych of nonrepresentational images that juxtapose having and not having control. This encourages students to explore formal qualities to express an idea. Students will also be encouraged to consider how their artistic intention will influence the viewer’s interaction with both pieces.
Controller of the Universe establishes strong connections with visual culture for students at the upper level. Students can investigate the power of gaining mental control and the ability to transform time and space when analyzing Marvel comic character Doctor Stephen Strange in the film Doctor Strange (2016) during a lecture or presentation. After a tragic car accident, Doctor Strange is unable to perform surgeries. His treatment involves taking mental control of his life to physically heal his body. His mental training extends beyond the physical healing he needs and allows him to gain control of manipulating time and space. Similarly, students can establish connections between the theme of gaining self-control and the formal qualities of altering time and space seen in Doctor Strange with Controller of the Universe. Students will learn how to possess the qualities necessary for gaining self-control by establishing these connections.
Because of the double meaning in the tools and manipulation of cosmic forces, Controller of the Universe is inherently interdisciplinary. Through the Expressionist and Cognitivist lens, the composition of the tools communicates the double meaning that tools help create as much as they help destroy. This connects to the concepts of homophones in a Language Arts class where words may sound the same but have different meanings, such as blew and blue. Additionally, because of the use of wire to suspend each tool and the direction each tool faces, cosmic forces are altered. It may be helpful to discuss the properties of astrophysics with students when they learn about astronomy and connect it to Ortega’s piece.
Conclusion
When Controller of the Universe is analyzed through the lenses of various movements, it becomes evident that Controller of the Universe is a piece of fine art to be held in high regard. The notions of beauty explored in Realism indicate that Controller of the Universe has inferior beauty. High degrees of aesthetic response confirm the presence of significant form in Formalism. With insight about the association’s tools have, connections are made to the emotions felt in Expressionism and provide knowledge of the world through Cognitivism. When the viewer changes their position while interacting with Controller of the Universe, they understand the power of control by warping time and space. Lastly, students are able to make assessments about their ability to control themselves and the influence they have on the world through a lesson plan, visual culture connections, and interdisciplinary relationships.
Controller of the Universe is clearly an engrossing piece of fine art that successfully appeals to the various art movements over time and aids in important self-discovery in the art classroom. This contemporary work is credited to Ortega’s knowledge of these lenses as he masterfully warps time and space through the application of formal qualities to evoke various emotions based on the viewers individual experience. Controller of the Universe impactfully invites the viewer into various contexts to understand their internal control and universal control and will continue to encourage micro and macro contemplation for any inhibitor of the colossal installation.
References
Barrett, T. (2017). Why is that art?: Aesthetics and criticism of contemporary art (3rd ed.). New York: Oxford University Press.
Bell, C. (1928). Art. London: Chatto & Windus.
Cube, W. (2019). Artists - Damián Ortega. Retrieved April 10, 2019, from https://whitecube.com/artists/artist/damian_ortega
Controller Of The Universe, 2007. (n.d.). Retrieved April 10, 2019, from https://collection.cooperhewitt.org/objects/35460745/
Damián Ortega. (n.d.). Retrieved April 10, 2019, from https://www.guggenheim.org/artwork/artist/damian-ortega
Jencks, C. (2007). Critical modernism: Where is post-modernism going? (5th ed.). Chichester, England ; Hoboken, NJ: John Wiley.
(n.d.). Retrieved April 10, 2019, from http://www.kurimanzutto.com/en/partials/artist_image/9/8