ECLIPSE
-amidst color and texture-
There is no doubt color and texture are the major protagonists in this exhibition.
Both mutually overlap...texture, which has always characterized my work, at a given point retreats into second place and is eclipsed by color, and vice versa: in many of my works, it is color that emerges forcefully, superimposed lyric chromatic spots that capture and bathe large surfaces. All texture does in these cases is emphasize the composition’s focal point.
This exhibition relates chromatically and thematically to prior projects in Honduras, Connecticut and South Korea.
Carlos Lanza, the Honduran critic, wrote in his review: “I have referred to Arzú Quioto’s painting as “matter painting”; the materials take over as support without becoming disconnected from their two-dimensional nature, which in specific projects have brought it close to sculpture. This work of Arzú's—shifting masses and colors—does not invite me to transport myself to the situation of the meaning; rather, the...forceful symbolic charge of the matter drives me to inhabit it therefrom. The artist explains that he has reached this level of synthesis in his production thanks to thorough reflection and comprehension of the evolution modern painting has undergone.”
Meanwhile, Salvador Madrid notes that: “If we talk about contemporary art in Honduras, Santos Arzú Quioto’s work shall be a topic of departure and of return. It is a form of painting that goes back upon itself, metapoetic, exploring the human spirit from perspectives that remain at the limit of sensations and of the intellect.
Not only the nobility of the formats, but of the strokes, the tears, the transposition of the components, that are not concealed nor mutilated; there, where the multiplicity of the components reinterprets the baroque, where there is experimental hybridization and echoes of compositions.”
It is a form of painting that has shown signs of definitive dialogs; its technique and the exploration of possibilities—that tradition reiterates and negates—are centers of tension in Arzú Quioto’s work. This investigation of the supports, formats and materials that ensue in invigorating and revealing pictorial texts—often confused with mere installations or interventions in space—in a formal sense suggests totally open semiotic spectra
Entrada actualizada el el 18 oct de 2016
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