Bridget Riley, associated with the Op Art movement, used the following aphorism: “Perception is the medium. The work of art, in the kinetic vein, becomes movement, and the object must be an experience for the viewer.” Umberto Eco’s definition of kinetic art in “The Open Work” can clearly define the work of the Chilean Benjamin Ossa, being a “form of plastic art in which the movement of forms, colors and planes is the way to obtain a change of the work of art as a whole”.
Born in 1984, Benjamin Ossa defines his research as the “possibility of connection to the experience of the phenomenon of nature”, and then attaches himself to the work as being a sensory experience, governed by mathematics and therefore, by a logic philosophical. The work of art requires a phenomenological reading : an object – the work – is observed, and a meaning is thus attributed from the consciousness of the subject and the subject alone – the spectator. Ossa’s work is therefore not to be looked at, but to be lived.
