To imagine art is to ponder an activity of visualization and thinking that is in itself a "way of life".
We borrow this concept from the late works by Ludwig Wittgenstein, to express an idea that serves to underline that art is not relative truth, but an expression of the masterly use of a visual language that is embedded in a context of thoughts and human activities, fears, andplans. Thus, members of different conceptual approaches can engage in dialogue with each other from a fundamentally humanperspective; landscape, form, and abstraction can be defined as the common thread that weaves these works together, but above all, aconviction of the power of art to communicate a series of shared values.
The work of Julián Burgos, Radenko Milak, Ramón Laserna, Jeison Sierra, and the sculptor Andres Monzon, seem to share a world view that is not referred to as proximity or familiarity but as a deeply rooted connection to art as a form of language. A language that, for theseartists, is based on aesthetical convictions that constitute for each one a "way of life". Though their work may vary in time, these artistshave in common a fully developed and matured language that is open to cross-dialogue.
Julian Burgos continues his exploration of the baroque principles of color, spatiality, and composition, only to remind us that codes are there for the pleasure of transgression. In a new series of paintings, he returns to the classical idea of landscape, incorporating his workswith new elements of the contemporary visual repertoire.
Radenko Milak continues to evolve his monumental works with a renewed perspective on the effects of the urban as the omnipresent contemporary inhabited space. A defining element of a "form of life" that has become, finally and after centuries, practically the only place known to society.
Jaison Sierra, a new artist in our gallery, has lived periods of his life in a great territory known as "Bajo Cauca" which is a vital hydrological resource in Colombia. These landscapes of his youth possess, along with expensive natural forests, some of the flora and fauna that have not yet been classified. Nevertheless, this region is strife with illegal gold exploitation, paramilitary presence, and generalized violence. For Sierra, this tropical ecosystem is a part of his identity and to represent it in his oil paintings is tantamount to an act of resistance.
Andres Monzón’s work explores the negotiations that surround the construction and preservation of memory and cultural identity. His work sometimes explores elements of identity, while mixing them with abstract forms that bring to mind the iconography and traditions of Latin American popular culture. His work is characterized by the purity and solidness of his forms.
These works resonate similarly with the works of Ramon Laserna, whose abstract drawings evoque the mid-twentieth century optical Latin American art. His experimentation rotates on the ideas of line, color, and light. With these elements, he produces ethereal vibrating images that refer to the idea of interaction between abstraction and the elimination of geometrical volume.
The works by these five artists are in dialogue with each other, ultimately illuminating the frontiers of art and a possible crossing of forms of life, from a fundamentally human perspective.
Ana Patricia Gómez - Director