#Camaras invisibles professional#

1, 2 I set this agenda for the nation’s flagship professional society for public health practitioners and researchers because I identified racism as the root cause of “race”-associated differences in health outcomes. Dan Caragea, Art critic, 2.As president of the American Public Health Association (APHA) from 2015-2016, I launched a National Campaign Against Racism as a key agenda of my APHA presidency. There are several references for this painting: the mirror, the symmetries, the almost fluorescent effect of the tips, the Mikado game («chopsticks»), the nuclear accident, straight lines and circles. Let's stay for a while on The pencils of Fukushima, 2013. In all paintings there is a strong formal, material and chromatic coherence. I would also like to leave a note on the secondary chromatic whose inspiration comes from the Rubik's cube (where orange and green appear), which has become a symbol in today's hyperrealism, since it allows the intersection of the squares of 'artificial' colors, with the positional random. Mondrian is present with two paintings (fake, of course) in the famous Juan Aguirre gallery (Reflejos pastel con dama, 2018), but also in Sinestesia, 2016, and, more discreetly, in Bufet, 2012, for example. The artist uses three primaries: blue, red, yellow, and two non-colors: black and white. Its translucency fascinates the artist who imagines not only huge rooms, but also large transparent sculptures in open decorative spaces.Ĭhromatics seems to be, in its deepest option, a lesson in Piet Mondrian's abstractionism.

Glass is also present in showcases and everyday objects such as bottles, glasses etc. 'For specular reflections, we must invoke the glass (its favorite material) and the surfaces that can function as a mirror. The most explicit picture for this technique is The disturbing invisible camera, 2018. The specular space is presented as a huge gallery (in several paintings, from Café at sunset, 2012, to El cambio de luces, 2018) or as urban landscapes. Using the technique of «mise en abyme», where the interior extends to infinity. I would say that the conception of space is one of the most interesting aspects of his artistic universe. This is the case of Juan Aguirre, an eloquent example of computational hyperrealism. The digital solution seems even more subtle to me when the artist has a long background and architectural experience. There is a clear agreement between current hyperrealism, as an artistic orientation, and digital art, as technical modeling. Evil that weighs us, we continue with the mind in the eighteenth century under the dictatorship of the Fine Arts The conservatism It has always been associated with the reception of the artistic work. The fact that the digital artist does not hold a brush in his hand yet arouses suspicion and suspicion. Juan Aguirre Vila-Coro (Madrid 1955), is an architect and has reconciled this profession with other activities in the field of Plastic Arts, first as a painter with traditional techniques (oil, acrylic and airbrushing) and then dedicated mainly to digital modeling.ĭigital art still has a way to go to be recognized by all the artistic community first, and by the citizenship afterwards (or the order is to the reverse?).