CONTEMPORARY ART  

This work traces the trajectory of an image from its circulation on social media—where it is rapidly consumed and dissolved within visual flows designed for fleeting attention—to its sedimentation within intimate memory. It proposes the transition from the public to the subjective as a metaphor for the architecture of human learning. In this gradual shift, the image ceases to function as an ephemeral visual stimulus and becomes experience, memory, and affective integration, revealing the processes through which the visible transforms into lived experience. The piece is structured through four layers of resin in Cyan, Magenta, Yellow, and Black, using the subtractive CMYK model as its conceptual framework (a printing method based on the superposition and filtering of pigments). Each chromatic layer corresponds to an epistemological layer: Cyan refers to primary sensory perception; Magenta to the affective modulation of experience; Yellow to the cognitive and symbolic construction of meaning; and Black to the deep integration of memory, identity, and the unconscious. The superposition of these layers does not seek chromatic fusion, but rather the visualization of the filtering process through which reality becomes subjective experience. Within this process—where the image is shown, distorted, named, and ultimately woven—the visual becomes embodied experience. The subtractive model operates not only as graphic logic but as a metaphor for learning: each layer subtracts, filters, and transforms, just as experience selects what persists in memory. The image is not constructed through accumulation, but through affective and symbolic stratification, where only what acquires emotional relevance attains form, depth, and permanence. Grounded in a fundamental neuroscientific principle—there is no learning without emotion—the work positions affective experience as a constitutive condition of knowledge, understanding that all human cognition is inscribed within a matrix of memory, body, and affect. In contrast, artificial intelligence systems operate through the statistical recombination of data, devoid of embodied experience and any affective dimension, introducing a structural deficit in contemporary models of learning. The piece thus points to the fracture between lived knowledge and calculated knowledge, posing a critical question: if human learning emerges from memory and emotion, what kind of knowledge is produced by that which does not feel, does not remember, and does not inhabit a body? Far from presenting itself as a merely contemplative object, the work functions as a device for assimilation. It does not ask what is seen, but what remains. In an environment saturated with images and cognitive acceleration, it proposes a material and sensory experience that invites pause, affect, and integration. Without offering a closed answer, the piece embodies a critical stance toward dematerialized models of knowledge, affirming learning as a narrative, embodied, and profoundly human process.