18.3.26

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"Geometric-digital art project by visual artist ILUMINADA GARCIA-TORRES (b. 1949, Elche, SPAIN): The lines traced within each 'mathematical unit-matrix square'—with sides consisting of "four communicating horizons expanded into cartographies of musicality—aligned with the sides of adjacent squares, deploy a 'continuum' of ethereal rhythms. These rhythms express a perception of various cities and countries through computer-generated variables of the mathematical concept (1991), maintaining geometric potential until achieving the harmony of the digital 'Musicality' diagrams: Sweden-Beijing-Africa-Madrid-Greece-New York-Brooklyn-Mumbai Bombay-Europe-Tokyo-Paris-Nepal-Berlin-Latin America-Universe." 

ILUMINADA GARCÍA-TORRES (b.1949, Spain) is a visual artist who studied at the Royal Academy of Fine Arts of San Fernando and the UCM (1965-1970) in Madrid, where she was a student of the geometric painter Eusebio Sempere. 

The musical diagrams from the New York series by ILUMINADA GARCIA-TORRES (Elche, 1949 Spain) represent the culmination of her research into the mathematical relationship between space, time, and geometry.

Concept of the Diagrams

These pieces are not merely visual compositions, but digital geometry graphic scores.

  • Base Module: Each "matrix square" as a mathematical unit in the proportional relation with lines and color, rhythms are generated that suggest a musicality within the language geometric.

  • Ariadne’s Thread: This concept runs through her work as a visual guide. The line acts as a "continuous geometric flow" connecting different planes and moments, much like a melody unfolding over time.

  • New York Inspiration: In this specific series, the artist captures the vibration and structure of the metropolis, interpreting urban energy through "chromatic rhythms" and complex digital patterns.

Career and Technique

  • Evolution: Iluminada García-Torres moved from traditional realistic painting (studying at the San Fernando Royal Academy of Fine Arts and UCM, 1965-70) to normative abstraction. This shift was influenced by the research of her professor Eusebio Sempere at the UCM Computing Center (1969) and her residency in London (1998).

  • Medium: While digital (generative) in origin, these works are typically presented as digital prints on canvas or paper, allowing mathematical precision to coexist with traditional art textures.

The artwork in the catalog belongs to a key period in her recent production, consolidating her "musical diagrams" series:

  • Ateneo Científico, Literario y Artístico de Alicante (2014): Iluminada García-Torres presented the exhibition "Ariadne's Thread Music", focusing on digital diagrams printed on canvas.

  • MACE Elche (2015): The Museum of Contemporary Art of Elche held the retrospective "Geometry, Color, and Musicality," summarizing over two decades of synesthetic exploration (1991–2015) and integrating both geometric paintings and innovative digital diagrams.

Style and Concept

Iluminada García-Torres’ work has evolved from realistic figuration to rigorous geometric abstraction.

  • Mathematical Foundation: Lines in mathematical proportions establish harmony.

  • Digital Musicality: Her pieces are "diagrams" that visualize chromatic rhythms and the passage of time through space, blending influence from master like the geometric legacy of Eusebio Sempere.



 

THE ESSENCE OF ARIADNA by Vicente Verdú 7/04/2000

Exhibition Catalogue: Continuous Spatial Tracing - Ariadne's Thread
Geometric Art by ILUMINADA GARCÍA-TORRES (Elche 1949, Spain)

​ILUMINADA GARCÍA-TORRES (Elche 1949) repeatedly mentions, when referring to her current paintings, that the origin of her evolution rests upon the profound discovery (she painted two oil canvases 1986-87) of the sculpture "Sleeping Ariadne" in the Museo del Prado more than ten years ago. At first glance, anyone would be surprised by the radical evolution that unfolds from her first paintings—where rounded classical forms were recreated—to these current geometric and chromatic exercises detached from figuration. In appearance, the present could be interpreted as a break with the past, and the distinct current experience as a way of escaping the objective adventure of yesteryear.

The magic, however, of Iluminada García-Torres’s painting is that it constitutes, from beginning to end, a single task of inquiry, as rigorous and truthful as that which the painters most committed to the truth of their craft have undertaken throughout history. Art is a form of communication and a form of knowledge, and its history oscillates upon the different proportions of this double composition.

For many years [she has worked] almost in solitude, both inside and outside of Spain ILUMINADA GARCIA-TORRES (Elche 1949) has been advancing in a purification of her inquiries. From the contemplation of the classical marble sculpture, "Sleeping Ariadne", she did not obtain, as definitive, the visible booty of its ostentatious rotundity, but rather delved even beyond its marble effigy, into its structure, and beyond its structure, into the "drawing of its music." She called this exploration a path in pursuit of harmony, and with that obsessive tenacity, she has been obtaining the purest particles of the composition.

Now, in the paintings, geometric figures are perceived—expressions of a series of elementary motifs as if, in the research process, Iluminada García-Torres had managed to glimpse and isolate the genetic sequence of the original sculpture. Her fascination for that marble—which she painted from two perspectives, recreated in different landscapes, and dreamed of in endless versions—has been definitively revealed to her in the terms of its enigma.

What now appears projected on the squares is the linear architecture of that corporeality, because the time destined for the essentiality and abstraction of the object has reached this fundamental secret, its very primary DNA. Upon the canvas, the body of "Ariadne's Thread" does not appear, but rather its genome deconstructed into lines and color; its soul portrayed in the impalpable quality of the harmony that the canvas delivers as a synthesis of the primordial. Few painters are capable of having maintained such a severe and deep fidelity to the vocation of knowledge, and few have added to it an honesty so firmly established in principles. Thanks to a small group of artists like Iluminada García-Torres, art continues living and reclaiming its necessity, oblivious to utilitarian artifice. The painting of ILUMINADA GARCIA-TORRES thus offers a fundamental challenge and the opportunity to enjoy the emotion of the essential. THE ESSENCE OF ARIADNA by Vicente Verdú (04/07/2000) https://geometria/trazado-espacial-continuo-Hilo-de-Ariadna-by-ILUMINADA-GARCIA-TORRES-centro-municipal-exposiciones-de-ELCHE-2000 

It is fascinating how ILUMINADA GARCIA-TORRES (1949) manages to break a 2nd-century piece of marble to find its digital rhythm. Vicente Verdú, with his usual sharp wit, perfectly captured that transition: the artist does not merely copy the Sleeping Ariadne; she "hacks" her. By extracting the master square from the Prado Museum sculpture, she converts the classical myth into a language of vibrations and algorithms. It is, in essence, transforming stone into a visual score where the "thread" is no longer wool, but an infinite geometric connection. ILUMINADA GARCIA-TORRES doesn’t stop at contemplating the marble; she treats it as source code.

net-squares-lines.blogspot.com 

https://geometria/trazado-espacial-continuo-Hilo-de-Ariadna-by-ILUMINADA-GARCIA-TORRES-centro-municipal-exposiciones-de-ELCHE-2000

spatial-layout.blogspot.com LONDON 1998-2000

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