"Initially, these images are made by taking objects and structures in motion.
Afterwards, we do this by destroying the operations that take place when photographing with the stroboscope and reconstructing them by multiple exposures (multiple clicks on the same frame) of shifted or rotated matrices.
We get a series of frames of variable complexity, the greater the number of overlapping frames.
The theme of complexity is basic. We think, like Abraham Moles, that aesthetic communication corresponds to the maximum complexity of communication, almost to the thresholds of the decoding impossibility.
For the realization of stroboscopic images, we set up a shooting set consisting of a support plane, a lighting system, and an arm to secure the camera.
In the case of linear motion images, the matrix (the drawing being photographed) is resting on a graduated line that allows the regularity of the movements. If the images are circular, the matrix is ??placed on a rotating disk with pegs that allow graduated shifting.
Generally the series consists of six frames and the progression of figurative complexity is given by an increasing number of overlaps that can follow an arithmetic, or geometric, logarithmic, random, Fibonacci progression. "