SHEETS

The artist makes reference to the material exploration of the zinc metal roof tile as a catalyst and unveiling format of his work. His life as an architect, and his immediate environment, has immersed him in an amalgamation of construction materials, where the metallic sheet becomes pertinent due to its uppermost use in its immediate context, both in the urban areas of Villavicencio and in the indigenous reserves that he visits in constants fieldworks. The artist refuges as well in plastics, tarpaulins, metallic meshes, stone, precast concrete, wires, dust or asbestos shingles, recycled paper, mineral pigments, among others.

He recognizes in these materials the realism and the appropriations of graphic elements contained in urban art; it has enough instruments to portray that abstraction or social figurativism that he pursues to represent so much. His constant interest in working, debating, and aesthetically dialoguing with his showpieces about the past, the present, and the social-political-cultural future has motivated him to suss out assorted forms of graphic streetwalker communication, having in them a Pandora’s box where he cuts, conserves, recycles or outline new pieces to incorporate in his work.

Given the foregoing, it is glaring that the artist doesn’t see sole in traditional painting and canvas as his direct communication channel, but sees far beyond the trestle and the history of painting. His perception compels him to refuse to look solely inward, and he begins to look outward in search to find his identity in paintings.

It’s in the search outer the trestle and the history of painting that the artist discovers and hoards banners, booklets, streetwalker posters, stickers, ads, flyers, graffiti, and stencils that mixed with the construction materials with which he has had contact over the years, seeks to represent and communicate the social tissue of the period and the context whichever we live and not solely with the history of art.