Starting from the algorithms, he combines “art, science and technology.” Sanchez contrasts and combines two streams: the Op and the Digital Art.
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There is a connection between the body of the work of Aureliano Parra (Caracas, Venezuela, 1980) and the vertigo of the large cities that gave rise to the futurist momenta century ago: the origin of his three-dimensional pieces, installed in the wall as curtains of Mylar acetate, where a sort of light fading away interweaves, and is in the aerial and nocturnal perception of the city in movement.
In the geometries of light with which Parra invades the space there are references to the electrical universe of the titillating lights in the windows of buildings or signage, or to the speed of the cars that, seen from above, seem to draw luminous lines in the flatness of pavement. Parra uses perpendicular and unpredictable vectors in his extension, to construct dynamic fields of expanding colors. Separating himself from the rectangular or square frames, he installs his pieces in such a way that they seem to fall like a floating cascade over the surface, containing within themselves the emulation of the urban movement.
Parra admits that his artworks are in a certain way “urban cartographies” setting up a key difference from the great Venezuelan kinetics: he does not elude the connection with the real world. He states that the experience of watching the city he inhabits, Caracas, from the El Ávila hill, has certain similarity with the perceptive effect of a work in which the structure of the city transforms into repetitive elements. What appears in front of us is derived from an aerial vision and for that same reason opens a new field to perception. His work acts as a a perpendicular plot that reflects this vibrating aerial perception, in such way that it captures the perpetual sensorial excitement of the individual in the urban landscape, but proposed as an intervening period for contemplation. Each abstract piece is a city without names in the streets that demands nothing else from us but to watch its lights and colors with fascination. As if translated into a new urban language, that contemplative vision of water lilies that Monet painted once and again during the passage of seasons in Giverni's garden.
In this way, Parra transforms the contemporary experience of the cities seen from a skyscraper, the nervous geometry of the urban bodies, illuminated and in perpetual movement, into the alphabet of a language that renews the abstract geometric tradition. His interwoven curtains in colored Mylar are an inciting substrate for the perceptive experience. The constructive principle is both meticulous and random. It contains a high degree of freedom that not only challenges the conventional frameworks - as the first MADI artists or the members of the Concrete Art Invention - but suggests the possibility of an organic growth. This certain similarity with the repetition and addition of luminous elements also approaches him to the minimalism, but unlike this movement, the frontier of formality delves into the perceptive experience of the large city.
Tensing an infinitum of interlaced and suspended geometric forms; Parra builds chromatic networks that seem to fall like cascades over the walls or to float without a visible support. These are myriads of colored geometric bodies that struggle to leave a perimeter that is no longer contained by the canvas nor by the frame, but by the body itself of the work he deploys in such space. He works, as he says, “with a conglomerate of urban landscapes that reside in my memory”. The perceptive simultaneity and the chaos of lights and sounds are transformed in his work into a geometric weave that expands above the space. It is possible to affirm that Aureliano Parra transforms into a form of beauty - floating yet not less ordered - that vertiginous perception of the luminous flows of bodies and urban colors.
Adriana Herrera Tellez, Ph.D.
2005 – BA in Fine Arts, Painting Major. Armando Reveron Fine Arts High Studies University Institute. Caracas, Venezuela.
1997 – Fine Arts Studies. Cristobal Rojas Visual Arts School. Caracas, Venezuela.
2012 – “Incisiones Urbanas” (Urban Incisions). D’Museo Gallery. Caracas, Venezuela.
2008 – “Collage”. D’Museo Gallery. Caracas, Venezuela.
2016 – “Alternative Abstractions – Ludic Geometries”. Canale Diaz Art Center. Miami, USA.
2016 – Art Palm Beach. Canale Diaz Art Center. Miami, USA.
2015 – Pinta Latin-American Art Fair. Canale Diaz Art Center. Miami, USA.
2015 – “Línea Fronteriza – Miradas Fotográficas” (Border Line – Photographic Glances). D’Museo Gallery. Caracas, Venezuela.
2015 – “Proposiciones Abstractas” (Abstract Proposals). D’Museo Gallery. Caracas, Venezuela.
2015 – “Art Motion”. Sala Mendoza. New York, USA.
2014 – “Caracas”. D’Museo Gallery. Caracas, Venezuela.
2013 – “Signos del arte contemporáneo venezolano” (Signs in Venezuelan Contemporary Art). La Cometa Gallery. Bogota, Colombia.
2012 – “Dialogos del arte contemporáneo” (Dialogues of Contemporary Art). Museum of Contemporary Art. Caracas, Venezuela.
2012 – “Gego, obra abierta” (Gego, open work). Museum of Contemporary Art. Caracas, Venezuela.
2010 – Supercable Youth with FIA (International Art Fair) Hall. Caracas, Venezuela.
2010 – Shanghai Art Fair. Shanghai, China.
2010 – X “Francisco Narvaez” National Sculpture Biennal. “Francisco Narvaez” Museum of Contemporary Art. Porlamar, Venezuela.
2010 – Pinta Latin-American Art Fair. New York, USA.
2009 – “Miguel Otero Silva” Art Biennal. Ascaso Gallery. Caracas, Venezuela.
2008 – 33rd Aragua National Art Hall. “Mario Abreu” Museum of Contemporary Art. Maracay, Venezuela.
2007 – IX Cuenca’s International Painting Biennal. Cuenca, Ecuador.
2006 – “El hilo de Ariadna” (Ariadna’s thread). “Alejandro Otero” Museum. Caracas, Venezuela.
2005 – XIV “Carmelo Fernandez” Visual Arts Hall. San Felipe, Venezuela.
2005 – “Visiones desde la pintura” (Views from painting). UBS AG. Caracas, Venezuela.
2004 – “Vuelta al origen” (Back to origin). VII Youth with FIA (International Art Fair) Hall. Athenaeum of Caracas. Caracas, Venezuela.
2004 – First National Encounter of Young Artists with FIAAM (International Art and Craft Fair of Maracaibo). Fine Arts Center of the Athenaeum. Maracaibo, Venezuela.
2004 – 62nd “Arturo Michelena” Art Biennal. Athenaeum of Valencia. Valencia, Venezuela.
HONORS & AWARDS
2013 – Honor Mention. XXIII Carupano Hall. Carupano, Venezuela.
2005 – IACENE (Autonomous Cultural Institute of the State of Nueva Esparta) Prize. X “Francisco Narvaez” National Sculpture Hall. Porlamar, Venezuela.
2005 – Painting Prize. “Carmelo Fernandez” Hall. San Felipe, Venezuela.
2004 – Second Prize. VII Youth with FIA (International Art Fair) Hall. Athenaeum of Caracas. Caracas, Venezuela.
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