The project “The wall as dermis. Light in the Mudéjar II” is the second phase of a project of the same name, which studied the Mudéjar as a screen for the projection and manifestation of light as a vehicle for the manifestation of divinity.
On this occasion, the project has focused on the study of filtered light in sacred Mudejar spaces and its transcendence in space and time, an aspect that is approached from the point of view of artistic creation.
The documentation that has been handled from the philosophical, anthropological and art-historical point of view refers to studies carried out on Islamic architecture from the point of view of the traditional foundations that come into play, as well as the valuation of the sacred versus the profane and its expression on a general level, an approach that is applied to Mudejar art.
The intention of the project is to artistically demonstrate the materialisation of filtered light and its incidence on ornate Mudejar interior walls, how it evolves and manifests its ephemeral presence, where it is reflected and what symbolic meaning it holds, investigating various artistic possibilities that facilitate its understanding and experience; analysing the quality of the light and the materials that receive it, its incidence and presence, as well as the circumstances that lead to perceiving light as a reality suspended at a specific moment in time in the face of the hegemony of light.
The monument and the main location where the project is to be carried out is the church of the Virgen de Tobed.
The methodology is based on the observation of light, taking into account the variables of space and time and recording the evolution of the planes of light projection.
Subsequently, an audiovisual recording was made. The aim was to generate a documentary that would bear witness to the information on light variation at key moments in its development.
The project also addresses a public awareness and social function phase by using the project to carry out various activities.
The project’s objectives were as follows:
- Experiencing the Mudejar by observing the light.
- To value the use of contrast as a key to the creative process.
- To use the cladding materials of Mudejar architecture in the priming and creation of the works.
- To investigate with materials that generate material sensations similar to the original materials and to demonstrate their interaction with light.
- Using the artistic gaze as a means of transmitting research and disseminating the territory.
- To generate reflection on the spiritual and symbolic message of Mudejar architecture.
- Introduce digital video documentaries and photographic images as a communication strategy.
- Facilitate access to the knowledge and experience gained.
LINE OF RESEARCH: New perspectives on Mudejar art.
AUTHOR: Pilar García Verón
