Macarena Rioseco
Macarena is originally from Chile where she studied BA in Visual Arts (2000-
2004), a foundation degree in Digital Illustration (2005-2006) and a Postgraduate
degree in Painting Restoration (2006-2008). In 2012 she came to the UK to
study MA in Fine Arts and currently she is second year PhD candidate in Art at
Lancaster University.
Her research focuses on rethinking Geometric Abstraction - an aesthetic
movement that originated at the beginning of the 20th century - using
contemporary systemic frameworks such as Science of Complexity and Systems
Theory. Through abstract painting she constructs visualisations based on ideas
such as fractal patterns, collective formations and emergent properties.
More specifically, the pixelated paintings that she presents in this exhibition
depict images that she firstly developed using a digital software. Subsequently,
she painted these images using traditional techniques and following a repetitive
systematic procedure.
Her interest in painting mainly resides in its performative dimension as a
practice. Therefore, she conceives paintings as objects which themselves may
document and provide evidence of the specific actions that have been carried out
throughout their execution. In addition to that, she has found in this concrete
practice a mean that has allowed her to meditate, embody and visualise complex
abstract notions, which could not be conveyed in any other form.
2004), a foundation degree in Digital Illustration (2005-2006) and a Postgraduate
degree in Painting Restoration (2006-2008). In 2012 she came to the UK to
study MA in Fine Arts and currently she is second year PhD candidate in Art at
Lancaster University.
Her research focuses on rethinking Geometric Abstraction - an aesthetic
movement that originated at the beginning of the 20th century - using
contemporary systemic frameworks such as Science of Complexity and Systems
Theory. Through abstract painting she constructs visualisations based on ideas
such as fractal patterns, collective formations and emergent properties.
More specifically, the pixelated paintings that she presents in this exhibition
depict images that she firstly developed using a digital software. Subsequently,
she painted these images using traditional techniques and following a repetitive
systematic procedure.
Her interest in painting mainly resides in its performative dimension as a
practice. Therefore, she conceives paintings as objects which themselves may
document and provide evidence of the specific actions that have been carried out
throughout their execution. In addition to that, she has found in this concrete
practice a mean that has allowed her to meditate, embody and visualise complex
abstract notions, which could not be conveyed in any other form.