The artist is Venezuelan and works in geometric and abstract sculpture.

Result #1

The artist is Venezuelan and works in geometric and abstract sculpture. He is not, however, a formalist. His work is a sum of skills and an awareness of the cultural diversity of his homeland. His work can be said to reflect his knowledge of culture, and of the difficulties of crossing cultural boundaries. The results are diverse and highly individualized, and it is impossible to characterize them. For example, in the new work made with paper and pencil, a third-person narration of events is written in a stylized script. A kind of rap song, it is a synthesis of the spiritual and the literary. The story is told in the form of a poem that is repeated and repeated ad infinitum, like a rhymes-with-the-song song. In some works, the forms are bound by a looping loop of two-to-fifty-nine dots, in which the words are fixed and distorted so that they no longer read as a line of text. Others are constructed of colored dots that are repeated over and over, under and over. In all the pieces, the forms are carefully determined and their relationships read as a series of relations between two entities. This includes the juxtaposition of a drawn-on line and a drawn line with a drawn line, the conflict of abstracted and literal shapes, and the addition of a figure-ground relationship to the drawing. It is as if the visual language of a short poem were reading as a series of relations among things. The two-dimensional works are also written in a manner that is abstract and nonobjective, but is actually a kind of abstract notation. They are also painted in a manner that is painterly, which is both suggestive of the painting of a minor artist and of the abstract painter, who paints his works with a brush. In short, they are painterly objects, but not to the extent that they are meant to be.

Result #2

The main part of the exhibition consisted of his recent work, in which he has made more geometric and abstract sculptures. The sculptures of this period are somewhat smaller than those of the earlier style, but still have the same abstract look, as if they were shaped out of a form that is part of the bodies of the body. In this exhibition he has also created a series of paintings which, in their simplistic, flat-looking lines and painted color, look like the lines and colors of a cutout piece of paper. The color ranges from light and natural colors like Ochiltree, a bright, orange-pink ribbon of paper, through the high-keyed colors of a high-keyed color, to a muted, off-white, fluorescent color, like Ochiltree, or even the brighter reds of the other works. The brush-marks have a metronome-like feel, and they are all rendered with an almost hieratic, waxy, almost-paintbrush-like quality. This kind of composition is used to great effect, and one can feel the texture of the paper as it changes from soft to hard and back again. The works have a very satisfying feeling of material quality and balance. The title, Base Material, is a reference to the way that the shapes of the drawings were assembled. The lines of the paper are framed by the drawings, and the painted-up paper is visible through the lines. In this way, they are the bases of the work, which is also the work of the artist. The works are not objects, but rather aspects of the body of work.

Result #3

This show included a number of these carved and carved wood sculptures, ranging from a few to a few giant, and all of them had an almost woodsy quality that recalls traditional Venezuelan ceramics. They also had a certain intimate scale, as if the artist were addressing the audience directly, as if he were really addressing the viewer.In the performance Something that cannot be described as a piece, the artist wore a kind of heavy ceremonial garment that covered his entire body except for his genitals. In the same performance, he had a pair of black panty hose over his right hand and placed them on the floor as a sign of supplication. One had to look up at the artist to see these handless, hand-covered hands. In the end, the artist and the performer made small, pensive gestures with their hands, which were embodied by the handless hands. They were seemingly seeking to communicate through the hands, but they were unable to. A sense of frustration was evident in the gesture of both the artist and the viewer. The artist had become the butt of a joke, and the viewer was left to wonder at the absence of any message in the act. The performance was a sobering reminder of how meaningless gestures, of the kind that leave no trace on the ground, can be.

Result #4

The artist is Venezuelan and works in geometric and abstract sculpture. The most intriguing aspect of his work is his use of two-dimensional space and form to create a new spatial dimension. The process of moving through space is an illusion, but through a sense of gravity the illusion can be broken. In the process of moving through space, the viewer becomes aware of his own weight, and of the different perceptions of gravity in space. Through a sense of gravity, the viewer becomes aware of his own weight, and of the different perceptions of gravity in space. The work of art is a puzzle, a riddle. At the same time, the work of art is a puzzle that is open, that asks the viewer to complete a new puzzle, a new vision. The puzzle of the viewer becomes a puzzle.In this piece, La Carretera, the word which signifies the head of a horse is written on the wall. At the right side of the wall, the artist has placed a kind of image of the head of the horse. At the left side of the wall, La Cabaña (the door, the door to the city, the door of the city, the city of the horse, the city of the city), a work in bronze, is placed in front of the door of the city. At the right side of the wall, in a way similar to that of La Carretera, a bronze figure of a man with a horse stands next to the door of the city. The bronze figure is a reflection of a human figure in the upper part of the sculpture, and the man is a reflection of the artist. The sculpture thus presents a dream of a city, of a city, which, like the city of the horse, is dreamy and is open to the gaze. La Carretera is a dream of a city, that is, of the city of the horse. The piece is a puzzle that presents the viewer with a set of images, a set of objects, a surface.

Result #5

The artist is Venezuelan and works in geometric and abstract sculpture. The only subject she has not specifically addressed is the idea of space, both architectural and pictorial, which she has dealt with before. The recent show consisted of two sculptures in clay and plaster. The clay sculptures are made of carved wooden planks and a similar material, but with a hard, shiny black surface. They are not in the traditional sense; however, they have the abstract quality of formalized forms. The sculptures are not at all thin or fragile, and it is hard to imagine them falling apart. They have a high-tech look, and they are more difficult to handle. In the plaster works, the plaster is powdered with a claylike substance that gives them a baked-like look; this gives the clay a bronzey appearance.The plaster works have a more sculptural quality, and it is not obvious what the artist is after. The proportions are not fixed; they seem to be generated by an activity such as sculpting or carving, but they are not fixed, either. This quality comes from the fact that the plaster is not a material; it is a mass of loose, irregularly shaped rocks that can be loosely tied together to form more or less circular or rectangular forms. The sculptures have the strength of decision making, the spontaneity of creation. They also have a sense of freedom; there is no sense of constraint or restraint. The one piece, called Black Plate, has a layer of plaster that has been treated with a white powder, giving it a luminous sheen. The white powder is applied in a loose fashion, and the mixture is held in place by a spatula. This material seems to have been brought into contact with a skin of stone, and the black surface seems to have been punctured by a large stone.