Luis Romero: Borderline, 10 Sep 2015 — 13 Nov 2015
Exhibitions

Luis Romero: Borderline

Luis Romero (Caracas, 1967), a multifaceted artist and acute observer of his immediate surroundings, began exhibiting  in the 1990’s and since then has developed a significant career, based on trans-disciplinary proposals and the exploration of the different forms and languages of visual representation that coexist in the exercise of his artistic practice.

Bordeline is the first solo exhibition of Luis Romero at the Alejandra von Hartz Gallery, brings together his most recent body work that centers on the representation of two different topics -one structural and other emotional- from which the curatorial proposal is built. In colloquial terms, the word that gives the name to the exhibition could very well reveal resonances of the ideas of crisis, conflict, or imbalance. At the same time, the words “Border” and “Line” pass through semantic memory in an exercise to contextualize the formal relationships contingent on the ideas of “perimeter” and “frontier”, polarization and dichotomy; instability and vacuum. The installation consists of a vast repertoire of works developed in individualized series, consolidating a hybrid visual of broad scale, wherein the representation of an affective geometry is expressed either by using traditional materials or graphic techniques and technologies from industry.

With Borderline, Romero re-vindicates the language of abstraction to express the complex contradictions of individual experience. His is an aesthetic investigation into the nature of the abstract inscribed in infinite visual registers and experimental possibilities.  Here the use of color, composition, spatial relationships, geometric volumes and figures, the processes of the series, and the repetition of forms comprise the tools used in his artistic practice that is dedicated to the recovery of a sensitive perception of his inner world, circumscribed by individual consciousness and the notion of otherness. Therefore, we stress that Romero applies an imagined, arbitrary, capricious, fickle, and unstable geometry to the conceptualization of intimate subjectivity and its underlining emotions. These are visual forms that reveal the spiritual side of existence, in purposeful ambiguity to mislead the viewer in an abstract transcription of a possible narrative.

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