“NEUROCOSMS”SERGIO SOTOMAYOR 

 

 

Blanca Soto Arte presents the first individual exhibition of the artist Sergio Sotomayor (Murcia, 1976) titled Neurocosmos. The spectrum of reality. A set of works that revolve around the concept of neurocosmos as the vision of a structure that houses all the thoughts lived in the cosmos, a kind of storehouse of collective wisdom that it is not erased Something similar to our cyberspace, a place where information grows and grows and where artificial intelligence prototypes begin to emerge.

 

When observing the reality that surrounds us, we perceive the repetition of similar processes, both at the micro and macro level, that is, the processes are emulated regardless of their size and complexity, the essence of their function is usually the same. So, when looking at the cosmos and seeing so many stars and celestial bodies connected to each other through the radiation they emit, it is inevitable  the comparison with a large neural network. The  radiations that travel through space are within the electromagnetic spectrum, it is their wavelength that differentiates them and the universe is flooded with radiations that illuminate the matter they reach. Then the concept of the visible spectrum appears, which refers to the light that the human eye is capable of perceiving and that illustrates its reality, the rest is light that we are not able to see, colors unknown to us, but that are there and Other living beings are capable of perceiving, as is the case with ultraviolet or infrared. Could then there also be a spectrum of reality, depending on the type of brain that interprets it?

 

Neurocosmos is the first of the four series that make up the sample. In it an egg,  representation of the creative intention, floats in an empty space, a great concentration of energy locked in infinity  that longs to find the substratum where it settles and hatch in their search for balance and subsistence. The series illustrates  the claim to be different and to be able to generate life in its multiple representations, some of which are doomed to extinction due to maladjustment or perhaps due to emerging prematurely.

 

Next, the series Atom acts as the allegory of the beginning of existence. From a place where there was nothing, energy begins to materialize into matter, causing an effervescent explosion of atoms dispersing and aggregating under the laws of physics with the apparent objective of creating superior structures.

 

On the other hand,  the series Piedra represents the physical footprint, the material, the fossil that confirms that there was extinct life today somehow it seems to have the purpose of recording, at least, the most basic information about what could have happened there. Devoid of all energy other than the one that, due to chance, still holds its atoms together, but empty of thought, where could what happened end up? what was lived and interpreted by the minds... will there be any trace of thought?

 

Finally, the series Cuántica closes the sample. It reflects on life within an infinite environment, an intangible place  where consciousness is capable of sheltering itself and continuing to evolve in its limitless escalation. Through quantum computing, technological exploration is opened to parallel realities that coexist with our perception of reality and that could be made visible through virtual representations, creating technological extensions of the senses beyond conventional perception. Perhaps, when we are prepared to apply and master these qualities  at will in the course of our existence, human beings will be able to manage their luck beyond mere intuition.