Multivértice
From the pioneers of geometric avant-gardes to today’s algorithmic culture, the drive to transcend the limits of three-dimensional perception has been a decisive force in art history.
The Multivértice series situates itself within that genealogy through a singular approach: transforming relativistic physics and hyperspatial geometry into the tangible substance of a constellation of interactive, kinetic works that reveal the fourth dimension as both flux and architecture.
Building on the intuitions of Aleksei Kruchonykh and Kazimir Malevich—who spoke of a “higher-dimensional volume” as an absolute—Casstillo updates their vision through the contemporary epistemology of relativity, in which time is understood as a coordinate bound to space (Minkowski, 1908). This perspective connects with the lineage of new-media art, from Kenneth Knowlton’s cellular automata to Marius Watz’s generative tesseracts, yet it introduces a decisive twist: movement is not mere animation but a direct representation of time—the fourth coordinate.
With this series of works, I aim to provide a powerful pedagogical device: to reveal time and space as a single fabric, sensitive to even the slightest human perturbation.
Tesseract I
Tesseract I turns the hypercube into a sharp metaphor for the digital self: a multidimensional identity flattened by social-media platforms into fragmented, two-dimensional projections. Each platform operates like a hyperplane slicing through our “identity volume,” assembling a mosaic of partial profiles calibrated to the metrics of attention. Just as the tesseract is misread when reduced to three dimensions, the contemporary subject becomes misunderstood when its complexity is translated into grids, timelines, or vertical carousels.
The work reveals that the interface has become today’s primary lens for reading the self: our lives gain “thickness” only when rendered on a screen; outside that frame, they collapse into algorithmic silence. White lines floating against a black void underscore that this volume is simulated and that our reality depends on how many eyes validate it. By compelling the viewer to orbit an impossible object, the piece invites us to question which portions of identity remain in shadow and exposes the loss of depth we incur when we accept the screen as the final boundary of existence.
Mapping the Tesseract’s Rotation
In the animation below, a grid of tesseracts rotates, collides, dissolves, and re-forms into a glowing square—an incisive metaphor for our hyper-connected society, where each individual—each hypercube—inevitably alters the state of the whole.
The shifting pattern recalls phase transitions in physics: once the density of tesseracts crosses a critical threshold, the screen becomes a continuous fabric, as if the sum of digital identities coalesced into a single, yet always fleeting, social body.
This animated matrix further reveals that we attain real “thickness” only when rendered by an interface.
The algorithmic simulation therefore goes beyond formal play: it lays bare the volatility of contemporary subjectivity, caught in a perpetual data flow that alternately separates and fuses individuals into the same luminous web.
Events
This interactive work explores the interconnection of space, time, and energy, drawing inspiration from space-time theory and the events that structure the universe.
Through the viewer’s interaction and the machine’s random or deliberate intervention, unrepeatable instants emerge, reaffirming how our decisions shape reality: each unique moment arises from a mesh of simultaneous choices woven into the universe’s dynamic fabric.
