In the category of Action, time, process, and interaction are central themes in Díaz’s exploration of the transformative potential of art. The works within this group focus on art as an ongoing process, rather than a static object. By engaging with viewers or natural phenomena, Díaz’s pieces continually evolve, reflecting the dynamic relationships between time, space, and matter.
For example, Ink Paintings (2006–2013) occupy a unique position in Díaz’s body of work, differing from his more technologically-mediated projects. These works are created in real-time, where the direct movement of the hand on rice paper produces an unchangeable result. The paintings map the space of thought, reflecting the immediacy of creation—linking to other works such as Adhesion and Pulsar, where figures are generated from real-time data, reflecting a shared interest in process-driven outcomes.
Laminar Landscape (2012), a site-specific work, simulates the formation of landscapes over millennia on a gallery wall. The piece transforms a static space into a representation of time’s laminar flow, much like natural forces shaping mountains and valleys. Fluid F1 (2006) extends this exploration into the realm of technology, capturing the energy of Formula One racing and its aerodynamic forces. By transforming these forces into abstract forms, the work connects technology and emotion in a processual, immersive experience.
Interactive works such as Voxel (2003–2004) and Generatrix (1999–2002) emphasize the role of the viewer in shaping the artwork. In Voxel, for instance, the human voice generates abstract, shifting forms, blurring the boundaries between the body and the surrounding space. Similarly, Generatrix allows participants to enter a virtual energy field, where their movements create and deform a digital environment, blending physical interaction with abstract digital systems.
The notion of time as a material to be shaped is further explored in Resonance (2007), where vibrations and cosmic energy fields are visualized and materialized, representing the ungraspable flow of time and energy. The process becomes the art itself, with these energy waves captured and transformed into visual and tactile forms.
Outside Itself (2011) takes this exploration to a new level, using robots and environmental data to create a continually morphing sculpture, untouched by human hands. This work, like many others in the category, highlights the transformative potential of art when the process is in constant motion, influenced by both natural and technological forces.
By emphasizing the unfolding of time and the interactivity of the process, Díaz’s works within this group explore the ever-changing nature of art, positioning it as a living experience shaped by both external elements and the participants themselves.