Subtilis presents a dialogue between the work of Andrés Monzón and Ramón Laserna, in which, parting from formalizations and distant languages, a review toward the visuality as an aesthetic experience is proposed as well as the comeback of the technique in contemporary artistic practices where an interest for manual processes is evident in both artists; experimentation with materials, the importance in doing and the technical knowledge in the artistic production.

All this, within the framework of creation processes based on the search for abstraction, comprehended as minimal expression of the representation. Regarding the knowledge of shape and materials, specially, the one related to cermaic processes, Andrés Monzón presents a series of sculptures that originate through his investigation concerning iconography in the culture of Tumaco- La Tolita and Quimbaya Clásica-, where, through replicas of objects and creation of zoomorphic sculptures, he becomes acquainted with and appropriates this visual tradition of northern Andes. This language, at the same time, slowly moves toward the creation of still life paintings that reference the form in which fruits and vegetables are displayed in markets, elevating this particular gesture of organization to a monolithic sculptural object, that formally alludes to the tropics, public space and Quimbaya goldsmithing.

Under the premise of the search for substantial shapes, Ramón Laserna takes an interest in linear geometry and visible reticulars in infinity of instances of everyday life, and parting from basic drawing concepts such as point, line and plane he creates a series of drawings that are the outcome of a set game of line superposition that contrasts with an impecable manual execution; proof that the drawing in his work is a meditaded and thinking activity and it leads to a reading where shape and visuality reign over interpretation.