Talking about fractals usually refers us to geometric patterns related to the golden proportion that nature offers in its immense variety. Discovering something that was already there and to name it is, though surprising, something very recent. Thus, the fractal concept is not new for mathematics, which already studied it in detail at the beginning of the last century within the theory of measurements; nevertheless, the specific name was not used until 1975 by the mathematician Benoît Mandelbrot, who distinguished several types of fractals according to their greater or lesser accuracy in the copy and the possibility or not of infinite reproduction.

But what do we understand by fractal? The word was used to designate the patterns of forms that did not fit the traditional geometric descriptions despite keeping an ordered structure. A proximity analysis revealed that these patterns were composed of small elements equal to each other, composing drawings that repeat on a larger scale, keeping the same distribution. Nature is full of examples of this type, such as snowflakes or sunflower seeds.

3D design with fractals

The study of this concept had an immediate practical application to graphic design. The use of fractal structures in the clouds, the mountains or the sea gave the graphics a greater realism that significantly improved the final result. Likewise, music is full of fractals and many classical works by Beethoven, Bach and Mozart work with this concept in their compositions. With the constant presence of these patterns in our environment, although unnoticed for a long time, very soon this interest made the leap into art. The plastic transposition of this idea opened a world of expressive possibilities still to be explored, even more in abstract works, where the game of geometries seemed to be running out.

M. C. Escher, “Smaller & Smaller”, 1956

Among the first artists who worked with this concept, we must mention Escher. His production is difficult to classify, although there is a clear interest in drawing and engraving, with which he channelled his intellectual restlessness and expositions of opposite terms, like the infinite versus the limited, the black and white, the misunderstandings, the double reading symmetries... Although the most famous works of this author are those that present optical games and visual paradoxes, he also investigated fractals with works that synthesize this concept perfectly, even though it had not been first used yet.

Jackson Pollock, “Number one”, 1950

Jackson Pollock's painting is also said to contain an infinity of fractal structures. The fascination that this artist has always raised, with such a short life and such a large production, led Australian scientists Richard P. Taylor, Adam P. Micolich and David Jonas to undertake a detailed study of his work in 1999. The work of this representative of abstract expressionism bases on the technique "drip and splash", drawing lines and spots by dripping and throwing paint on the canvas. The conclusion is that the fractal proportion of his painting increases with the years and gains perfection, and thus, we keep the same chaotic sensation of spread pattern whether we observe a detail of one of his works or the piece as a whole.

Kerry Mitchell, “Jungle”, 1998

Beyond these examples of traditional art, many contemporary creators approach their works from computer-made compositions where the presence of fractal algorithms combined with the changes of colour originates shocking images. For this reason, fractal art appears intimately connected with computational art, a new trend in which creators who usually have a previous background in the world of science or computer science stand out. We can mention as examples Scott Draves, William Latham, Greg Sams or Kerry Mitchell.

Diego Vallejo García

CONVERSATIONS WITH MARISOL SALANOVA. INTERVIEW PROGRAM. ART MADRID'25

Diego Vallejo García (Ávila, 1991) has a classical style in his treatment or composition, but with a contemporary theme. He studied Art History before studying Restoration and Conservation, which gives his projects a degree of knowledge that crosses from the theoretical to the practical. His work is representative of the tendency towards fragmented painting and the superimposition of realities, from the abstraction of colour fields to the painted photomontage of striking realism. This photographic exploration is taken to the realm of pictorial distortion.

The artist makes a generational portrait without individualising anyone, seeking to capture the collective personality of his generation, of the customs. He paints everything with oils, glazes and materials that he uses, thinking a lot about the conservation of the pieces and their durability.

Synergies. 2024. Oil on canvas. 114 x 195 cm.

What role does experimentation play in your creative process?

I think that experimentation in the conception of my work is fundamental, as it begins even before dealing with the actual subject matter of the painting. It begins in the configuration of the image, working on it through digital media such as Photoshop or Procreate. However, that image will only be a guide at the moment of painting; as the work progresses and accidents with the material arise, the image becomes detached from the painting, and it is the painting that finally takes control. That is why accidents occur in my painting in which elements are eliminated or appear that were not originally planned.

What are your references?

Well, I have many references. If we start with the classics, the first one I would mention is Velázquez, as well as all the paintings of the 19th century. As for the more current ones, they could be Rubén Guerrero, Ignacio Estudillo, Phil Hale, Sean Scully. They are painters who, in the end, deal with matter rather than image. I think this is the natural process of any figurative painter: at the beginning, trying to capture reality more or less faithfully, and with time you realize that what should take precedence over the image is the painting itself.

Fr Ltsch. 2024. Oil on canvas. 195 x 195 cm.

Why do your works have such an emphasis on nocturnality?

My work is not so much about nocturnality, but rather about light. What nocturnality allows me to do is to work with artificial light, and it gives me the possibility of treating light in its different temperatures and powers to create different sensations or different realities.

Do you feel more comfortable portraying individuals or crowds?

Portraying individuals or crowds pursues the same goal: to seek a portrait of my generation and society through customs and actions. How do I get this portrait without being individual, but collective? By eliminating the faces of the characters.

Nothing Is What It Seems. 2024. Oil on canvas. 146 x 195 cm.

What is the importance of movement, of action, in your works?

Movement and action are related to the previous question, because the movement of those individuals, crowds or characters in the work identifies them with a social movement and a collective identity. Also the movement that is really perceived in the work, of blurring, comes from trying to create a concept of character rather than a character in itself.

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