Denis Correia

Denis Correia is a Venezuelan passionate about the arts. Residing in Mexico City since 2016, he works in the advertising industry as Production and Creative Manager for Rockanfella Studio México-Miami.He graduated from the Central University of Venezuela with a degree in Art History, minor in Cinema. For the last twenty years, he has dedicated himself to his creative nature in the area of ​​audiovisual production as a producer, creative, screenwriter and director in radio, cinema, theater and television.The audiovisual production route has led him to travel down other paths in which he has found different ways of communicating his aesthetic discourse through photography, video and painting, thus consolidating a body of works. In these spaces of creativity, the artist has found a voice of his own and an awareness as Denis states "Sharing the creative process is a powerful way of making my work evolve."Since 2016, photography has been gaining importance as a form of expression and reflection in a process that responds to the quest for a greater creative freedom. Denis takes color and black and white photographs; using sweeps, double exposures and blurs as techniques to present his subject. He takes his photographs using 35mm digital and analog cameras, as well as Polaroid snapshots.“The characters that I create are world forgers. They are terrible beings, who can also be excessive. Movement and color are usually the way in which the camera captures its powers and its acts. Thus, we see them build their own universes. In the image their mystical universe appears but we can only understand them in a fragmentary way through certain events. There, the realities they create can be perceived timelessly. And we can say: I know this place, I belong to it ”.
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Denis Correia es un Venezolano apasionado por las artes. Residenciado en la Ciudad de México desde 2016, se desenvuelve en la industria publicitaria como Manager de Producción y Creativo para Rockanfella Estudio México-Miami.En la Universidad Central de Venezuela cursó estudios en Arte, mención Cine. Correia se ha dedicado durante los últimos veinte años a expresar su naturaleza creativa como productor audiovisual, redactor y realizador en radio, cine, teatro y televisión.El camino de la producción audiovisual lo ha llevado a transitar otras rutas en las que ha encontrado diferentes maneras de comunicar su discurso estético a través de la fotografía, el video y la pintura, consolidando así un cuerpo de obras. En estos espacios, el artista ha encontrado una voz propia y una conciencia.Desde el 2016 la fotografía ha tomado importancia como forma de expresión y reflexión en un proceso que responde a la búsqueda de una mayor libertad creativa; “Compartir ahora ese proceso, es una forma poderosa de hacer que mi trabajo evolucione”.Correia realiza fotografías a color y en blanco y negro; barridos, dobles exposiciones y desenfoques, empleando cámaras digitales y análogas en 35mm, así como instantáneas Polaroid. “Los personajes que yo creo son forjadores de mundos. Son unos seres terribles, que pueden también ser desmesurados, desmedidos. El movimiento y el color suelen ser la forma en la que, la cámara captura sus potencias y sus actos. Así, los vemos construir sus propios universos. En la imagen asoma su universo místico pero sólo podemos entenderlos de forma fragmentaria a través de ciertos Eventos. Ahí,  las realidades que crean se pueden percibir atemporalmente. Y podemos decir: Este lugar lo conocí, a él pertenezco”.

Omar Borrero

During more than 5 decades of work, this artist has managed to consolidate an unmistakable style key solidly backed by excellent drawing and precise chromaticism, giving rise to profuse compositions with complex narrative plots, multiple and simultaneous readings. Complexity of form and content, but without undermining the interest aroused in not abandoning early observation; not to stop looking until you have traveled the unimaginable corners and cracks of each piece and you leave visually satisfied, even without concluding with the discovery of some obvious message. Borrero, generally uses the lure as a strategy, the figurative mimicry and the enigma as a resource, which he explains on the canvas according to the methods of the old surrealists, that is, without any representative logic or discursive linearity. That is why he generally affirms and falls unequivocally in the category of fictional narrator, understanding this literally as a demarcation of the true verista.For this reason, we recognize Borrero as an eternal manufacturer of visual puzzles, and through his painting he generally reminds us that the path of imagination is also that of unreason, but also that all ambiguity and contradiction find a solution for the continuity of the dream stages, or as Freud stated in super-reality. Since contemporary art rebukes both artists and viewers to rid ourselves of perceptual biases and, consequently, to admit the absurdity of reason and chance versus logic, the key to deciphering each of these puzzles is active only in the dream universe and hallucinations. It is towards this plane where Borrero extends the Ariadna thread converted into those organic forms obtained by splashing and dripping; anamorphisms derived from the double perception of the stain and the controlled automatism that Quintana Castillo told us about. It is both an invitation and an exhortation to participate in its peculiar microcosm; accompany him in the act of imagining and dreaming to experience the sensations and unravel the mysteries that underlie those situations and dilemmas that transcend common reality, such as a dark and metaphysical street in Chirico, the sagging of some clocks or the pregnancy of certain birds…

Unpublished text by Amilcar Alejo
Director of the Museum "Casa La Blanquera"
2013.
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Aproximación formal e interpretativa a la obra de Omar Borrero.A lo largo de más de 5 décadas de trabajo, este artista ha logrado consolidar una inconfundible clave de estilo sólidamente sustentada en excelente dibujo y acertado cromatismo dando lugar a profusas composiciones portadoras de  tramas narrativas de complejas, múltiples y simultáneas lecturas. Complejidad de forma y contenido pero sin menoscabo del interés que suscita para no abandonar la observación temprana; para no detener la mirada hasta no recorrer los inimaginados recovecos de cada pieza y salir visualmente conformes, aún sin concluir con el hallazgo de algún mensaje evidente. Y es que el artista suele recurrir al señuelo como estrategia, al mimetismo figurativo y al acertijo como recurso, lo cual explana en la tela según los métodos de los viejos surrealistas, esto es, sin ninguna lógica representativa ni linealidad discursiva. Es por ello que suele afirmar y sin ambajes se inscribe en la categoría de narrador de ficciones, entendiendo esto literalmente como deslinde de lo real verista. Por tal razón, reconocemos a Borrero como un sempiterno fabricante de acertijos visuales, y mediante su pintura  suele recordarnos  que el sendero de la imaginación es también el de la sinrazón, pero además, que toda ambigüedad y toda contradicción encuentran solución de continuidad en los escenarios oníricos, o como afirmaba Freud en la Suprarealidad. Siendo que el arte contemporáneo nos increpa tanto a artistas como a espectadores a despojarnos de prejuicios perceptivos, y en consecuencia, a admitir el absurdo ante la razón y la casualidad ante la lógica, la clave para el descifrado de cada uno de estos acertijos se activa solo en el universo de los sueños y alucinaciones. Es hacia este plano donde Borrero nos extiende el hilo de Ariadna devenido en esas formas orgánicas obtenidas por salpicados y chorreos; anamorfismos derivados de la doble percepción de la mancha  y el automatismo controlado del que nos hablaba Quintana Castillo. Es a la vez invitación y exhorto a participar en su peculiar microcosmos; a acompañarlo en el acto de imaginar y de soñar para así poder experimentar las sensaciones y desentrañar los misterios que subyacen en aquellas situaciones y dilemas que trascienden la realidad común tal una oscura calle metafísica de Chirico, la flacidez de algunos relojes o la preñez de ciertas aves…

Amilcar Alejo
Director del Museo Casa La Blanquera
Texto inédito de la serie Notas para una conceptualización de las artes plásticas de Cojedes.
2013.

Carlos Cruz-Diez

This Venezuelan artist has been excelled for his research, through which he brought to the world of art a new form of knowledge, related to the phenomenon of color; his studies expanded the perceptual universe. His reflection and discourse are innovative . The artistic project of Carlos Cruz -Diez is founded on eight investigations that reveal the different behavior of color in space: Couleur Additive ( Additive Color ), Physichromie ( physio-chromia ) , Induction Chromatique ( Chromatic induction ), Chromointerférence ( chromium-interference ), Transchromie ( Trans-chromia ) , Chromosaturation ( chrome-saturation ), Chromoscope ( chromoscope ) and Couleur dans l’espace( space color) .

“El Maestro” (as their friends and admirers like to call him) instantly creates works of art that are part of the present, works of art which have neither future nor past, they evolve and change as the observer remains active. To see beyond reality, to perceive the invisible, the non-existent ; this Venezuelan has taught the world how to see with the eyes of the soul, integrating fans into the magical world of color, as in his works appear and disappear before our eyes colors that are not in the piece of art.

Cultural institutions such as the Museum of Modern Art in New York, the Tate Modern in London , the Centre Georges Pompidou in Paris , among others , have permanent exhibitions of the work of this Venezuelan artist.

Cruz -Diez reveals to the world the magic of color, the art perceived differently , alive, not only in galleries and museums but also in buildings , stadiums , streets. As stated by the artist himself: “color impregnates reality, one must know how to appreciate it”. We have to leave aside the logic and rationality to see the invisible. We should get carried away by the sensations , see and feel beyond the tangible reality to discover the beauty of color in the art and enrich our knowledge and spirit. The color resembles music, an art in space and time , that comes and goes.

Silvia Lizardo

The wastes from the streets of Caracas were the first inspiration for the first works of Silvia Lizardo. For her, these objects are loaded with history and constitute an intimate expression of people. Her first installations attempted to dignify them and to give them another form of existence.The sculpture "Emotional self portrait" (2009) made from a chair recovered in the street, participated in the Biennial Sculpture of Trazos Gallery, where she received an award from a leading critic of Venezuelan art, Perán Erminy.

At the same time Lizardo, began exploring other materials like clay, resin, plaster and bronze. She joined a group called “Artistas en Conjunto”, as part of that group, she participated in a series of exhibitions in Caracas. Notably, she participated in a community Urban Art Festival in a neighborhood of the capital, where she made her first mural.

Nowadays she lives in Lyon since 2011, where she continues her work as an artist. Her work through moving images led her to explore video art, which develops a series of montages inspired by nature and Japanese poetry, called visual Haiku. Her style is a mixture of different visual media, including photography, painting, video and land art. In her work the emotions are raw. Her texts and images tell us about her immigration process, the difficulty of communication, distance, language. In her vivid colors we can find the mark of the Latin American culture.

About two years ago, Silvia started to think more and more about migration because of the migration crisis in Venezuela, but also in Europe and Mexico – a country that has a long history of migration. "Nowadays all my friends are spread all over the world, so we are all migrants. That happened so fast that we almost did not notice. And now migration is an integral part of my work."

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Los desechos de las calles de Caracas fueron la primera inspiración para las primeras obras de Silvia Lizardo. Para ella, estos objetos están cargados de historia y constituyen una expresión íntima de las personas. Sus primeras instalaciones intentaron dignificarlos y darles otra forma de existencia. La escultura "Autorretrato emocional" (2009) hecha de una silla recuperada en la calle, participó en la Bienal de Escultura de la Galería Trazos, donde recibió un premio de uno de los principales críticos del arte venezolano, Perán Erminy.

Al mismo tiempo, Lizardo, comenzó a explorar otros materiales como arcilla, resina, yeso y bronce. Se unió a un grupo llamado "Artistas en Conjunto", como parte de ese grupo, participó en una serie de exposiciones en Caracas. En particular, participó en un festival de arte urbano de la comunidad en un barrio de la capital, donde realizó su primer mural.

Actualmente vive en Lyon desde 2011, donde continúa su trabajo como artista. Su trabajo a través de imágenes en movimiento la llevó a explorar el videoarte, que desarrolla una serie de montajes inspirados en la naturaleza y la poesía japonesa, llamada visual Haiku. Su estilo es una mezcla de diferentes medios visuales, que incluyen fotografía, pintura, video y land art. En su trabajo las emociones son crudas. Sus textos e imágenes nos cuentan sobre su proceso de inmigración, la dificultad de comunicación, la distancia, el idioma. En sus colores vivos podemos encontrar la marca de la cultura latinoamericana.

Hace unos dos años, Silvia comenzó a pensar cada vez más en la migración debido a la crisis migratoria en Venezuela, pero también en Europa y México, un país que tiene una larga historia de migración. "Hoy en día, todos mis amigos están repartidos por todo el mundo, por lo que todos somos migrantes. Eso sucedió tan rápido que casi no nos dimos cuenta. Y ahora la migración es una parte integral de mi trabajo".

Carmen Carriero

Currently living in Rome and is native of Campomarino, Molise. Carmen Carriero develops the Linear Symmetry trend.

1974 - She graduated from the Liceo Artistico Statale (Termoli) of the Accademia di Belle Arti (Firenze) and the Centro Sperimentale di Cinematografia (Roma).

The artist did not cease her experimentation until she found the signifiers of a speech within the geometric abstraction. In her works titled Linear Symmetry, she uses lines to express her own poetics of space. Lines that at times are duplicated when reflected in the metallic background that contains them, a linear symmetry in which they acquire motion as the gaze moves.