José Antonio Orts, Meliana, 1955.
Between science and art, physics and aesthetics, there is a remote, unknown place where wonderful things happen. That territory, which only a few curious people are willing to know, is populated by the works of José Antonio Orts. Pieces of electronic art and sound sculptures that, rather than remaining indolent in a space, inhabit it. They come to life when they are observed.
The studio of this Valènciano artist proves it. The walls, covered with electronic components and solar panels, welcome us to a space where the untrained eye scrutinizes the pieces in search of an explanation that brings it all together. Proof of this is the corridor, invaded by imposing tubes of different lengths. Depending on these, Orts tells us, the viewer can hear different sounds or musical notes. Science is exact; art, pure emotion.
Although art and music have always captivated the artist (who has a degree in composition), electronics was the discipline that first appeared in his life; specifically, when he was just 10 years old. He created the circuits as a hobby, not knowing exactly what for. Nearly three decades later, he knows perfectly well: the lights of his works are powered by ambient energy through solar panels. The sculptures whisper or grunt sounds to the steps, movements or gestures of the people who come to interact with them. The dance between spectator and work has just begun.
Rome, Paris, Berlin, Valencia. Behind his back, the artist has a long and prolific career that has just earned him the V Prize of the Cañada Blanch Foundation for his work Trio of drops of light. "It is the first time that a work of electronic art has won this award. It creates a valuable precedent," says Orts. For us, for the time being, it serves as an excuse to get to know him and his work. An opportunity we won't miss.
Work at the collection: Duo Fa-la
Duo Fa-la , 2004
The installations, visual and sound, are made with electronic objects (sculptures) sensitive to the presence and movements of the spectator. The form of these objects has emerged from their function, so there is a very intimate relationship between their visual form and the sound, light or effect produced. These electronic objects capture the presence of the spectator (by the changes of luminosity and the shadows that they project, or by the small movements of air that they cause when passing) and transform these movements of the spectator into progressive variations of sound rhythm or luminous rhythm.