ESTEBAN PEÑA

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Tranvia en llamas, from project “Imágenes que se desdibujan en el tiempo”, 2018

La voz de Bogotá, from project “Imágenes que se desdibujan en el tiempo”, 2018

Coronas de luces, 2016. By Daniela Cortés. In the ‘Crowns of Lights’ series, light bulbs are represented by the contrast between the light emitted by the bulbs and the shadows generated from the effect of the crowns’ luminescence, so that layers of paint obscure the paper’s white surface and the absence of paint creates the most luminous parts. This work refers to the cyclical and vital processes of the human being marked by a series of rituals that help us reconnect with ancestral ideas in our daily lives.

Aguadas, 2011-15. By Jorge Pachón. The exhibition Aguadas (Watery) by Esteban Peña in Galería Nueveochenta resolves a complex artistic problem: How to make the visible visible, what we see in the news every day and live in the flesh has not yet been codified in terms of visual image. There is a gap between reality and the poetics of art, especially in the case of events recorded by the media such as the catastrophes caused by global warming, floods, droughts and the melting of glaciers. When we speak of landscape we always think of bucolic, perfect places, each tree in its place: the landscape like a Renaissance painting, in search for ideal compositional elements. But is this really the landscape we see?

Sangrados & details, 2006-9

Croma, 2006-15. I started my professional career as a draftsman, and as such, I had a natural ‘chromo-phobia’, I was used to visualizing ideas in black and white. For this project I decided to make color —the most abstract concept of painting— one of the central axes. My minimum element is a point, which like the pixels in digital images, concentrically orders color pigment, generating a vibration in the eye of the viewer. There could be a comparison to mandalas—the schematic and symbolic representations made by Buddhists and composed of thousands of colored particles.

Croma, 2006-15

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