Chance as Paradox

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There are many ways to construct a work of
art. One is making decisions at each step; the
other, making up a system to make decisions.
The system must be structured as logical or
illogical (chance).
Sol LeWitt

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A set of colors is organized inside a system of grids perfectly designed to hold them. What de(limits) them, separating one from the other, is not only their chromatic nature but also their edges. Precise edges that imply an inward and outward motion that also somehow constitute a region of encounter. In that relation of de-limitation and contact, each and every one of the colors chosen makes up palettes enveloping in their rational hallucination.

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Is there a place for whimsy in a designed system? If so, what place? Following the traces of chance understood as a random and unpredictable force that determines circumstances without prior intervention, Verónica Di Toro constructs a system where the symmetrical and chromatic module of the grid becomes minimal unit of experience. The pattern turns into a system that explodes under the pressure of a set of logical tools where chance and its
semblance are at a crossroads. At stake is not acting as if but rather preparing the space for the possible, a stimulus for what appears to be a contradiction.

Building a system for chance inhabited by body/perception/rationality is the form taken by the conscious procedure of her de-limits. It is something like the tale of Achilles and the tortoise who, on the verge of finally reaching or even passing one another, become paradoxical gesture. Grappling with the contemporary dimension of paradox to delve into geometric abstraction renders each of these pieces a refuge for the motor that is whimsy.

 

The aesthetics of chance blows up the univocality of the element repeated in its variables, turning the procedures into the space to make decisions, to reexamine the commonsense of systems as limiting gestures; it builds a fabric where whimsy and reason shatter their binary relationship, rendering the paradoxical an inhabitable category in its palpable aesthetic dimension.