Digital Graffiti 2015 Finalist, Victoria Febrer, answers questions posed by Curator, Brett Phares

Victoria Febrer

*How did you find out about Digital Graffiti at Alys Beach?

Pedro and I participated in 2012 and 2013.

*Have you participated in other projected art exhibitions?

In 2011, I began to work with cinematographer and colorist Pedro J. Padilla on animated video projects based on my paintings and vinographs (works made with red wine through a process of my own invention called vinography). Digital Graffiti 2012 was the first time “Flight of Memory” was projected outdoors. The piece conjures the image of a seascape from memory, bringing it to light through the flight of a flock of seagulls. Alys Beach was the perfect location for the piece, and I began thinking about more site-specific works.

Since then, our projection works have been shown around the world, including at the Under the Subway Video Art Festival in New York City in 2012 and 2013; the DysTorpia Media Project at Queens Museum of Art, Local Project, & Outpost Artist Resource in 2012; the Monster Truck Gallery’s Night Screen in Dublin in 2013; and the Toride Train Station in Japan as part of the Toride International Video Projection Competition in 2014.

*How much technology is required to create your work?

The piece MarDesierto/DesertSea requires four projectors to install and relies on editing and graphics software to produce the four video images and map them onto each other. However, the visual effects that occur in the piece don’t rely on the digital technologies, but rather on the analog properties of video and the physical separation of white light to create the colors we see.

As a painter and installation artist, I have a certain set of skills that are complemented by Pedro’s technical filmmaking skills in our collaboration. Typically, I plan out a piece and then we work together on the video aspects of its execution. While my work tends to have a filmic feel, without digital technologies many of my complex installations would not be possible.

*In the lineage of art history, where do you see projected art?

I feel that projection art has the potential to bring artwork to diverse audiences who might not visit a museum, and to draw these audiences back into conversation with the artists and curators.

* Where do you see projected art headed?

While projection art has amazing potential as a grand spectacle, particularly with mapping onto large architectural surfaces, I have been drawn to more intimate experiences where the spectator can relate to the piece in a space that they inhabit and interact with, rather than as a viewer looking up at a screen. I have been experimenting with this in larger pieces such as MarDesierto/DesertSea (which will be shown at Digital Graffiti).

*What sparked your interest in digital art?

I was working primarily as a painter using paint and red wine until I approached Pedro in 2011 with the idea of animating some of my two dimensional pieces. Since then, I’ve created numerous video projection and video installation pieces. I still consider my work painting, and typically the effects I use in installation are produced by analog means. For example, in the piece that will be shown at Digital Graffiti this year, I use multiple projectors to separate the component colors of light, and layer and mix them in a process analogous to printmaking. While digital technologies facilitate my work, I don’t consider the work “digital art”.

See Febrer’s work at DG2015. More information about the artists at and