The installation is comprised of three screens, now obsolete, of diverse origin: a notebook, a digital frame and a camera, all of them intervened on by the artist. In her creative process, Irene de Andrés investigates with them, trying to recover their interior, dismantling and gutting them until extracting the liquid crystal and interior filters through which the screens polarised the light from them. By modifying these parts of each screen, De Andrés creates simple geometric shapes and drawings, with an ethereal appearance, drawing inspiration from the work and forms of the Russian suprematists like Kazimir Malevich, or the Dutch Neo-plasticists like Piet Mondrian.

In Behind the screens (2010), the artist sets forth a critique of our consumption system: technological apparatus typical of the 21^st century, designed to reproduce an infinity of images, is muted and truncated from its function, capable of displaying only a single, simple, clear and geometric image. The work of Irene de Andrés breaks with the concept of usability inherent in the hyperconnected, digital world, positioning us in a critique of the system based on ecologist and consumption demands, speaking to us of programmed obsolescence, of digital ruins and of prefabricated paradises.

I.LL.