Federico Díaz, Voxel



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PC, C++ software, optical sensor, data projector, polyamide material, projection room with flexible dimensions


Objectually Speaking, Galerie Futura, Prague, Czech Republic, 2004


The starting point of Voxel is an empty white projection screen but the interaction of the viewer and the work gradually generates the shapes leading to the abstracted reflection of a human body. When the contact with the work is interrupted, the original state returns. The spatiality of the projection is also its specific. It does not concern a two dimensional image – individual pixels are replaced with spatial voxels and thus it seems that the human body is expanded by other immaterial dimension. This time the installation does not follow the viewer’s movement only but it also reacts to acoustic stimuli. The voice serves as means for making the intended vibration membranes vibrate. The membranes are visualised in the emerging image. Therefore, it is some kind of a visual echo of own sound track.
In the case of project Voxel, all the relevant documents were lost. This issue leads us to questioning the long-term preservation of Díaz’s works and the art of new media, which is strongly bound to current technology that are overcome very soon and with time, there might even occur total incompatibility of the original hardware and software with a new one. Therefore, the possibility of exhibiting the original work of art is lost and it is only possible to reconstruct or remake it.