To discover an oeuvre such as that of Cesar ANDRADE is particularly encouraging.
It is acheives with minimal means, rigorously deployed and expressed in a language at once spare and effective.
Unlike most artists of his generation, he has taken the longest and most difficult road in the artist adventure: the investigation of a "non-referent" world, whose aim is the constrution of a new visual language.

Carlos CRUZ DIEZ
Traduction: John CORBETT

The reference to a meticulous built structure in Cesar ANDRADE's work is undeniable but it does not impose itself since it is complemented by the essential activity of the spectator.
This participation, stimulated by curiosity and sustained by discovery, produces an effect of constantly renewed perspective.
The fleeting, illusory kinesis thus imagined by the spectator-actor is heightened by the chromatic exuberance of the multicoloured nail heads.
His work is rigorous, complexe, participatory and correspondingly captivating.

Philippe TROVO.
Traduction: John CORBETT

The contribution of the creative work of the artist O. Rafael CARRENO is of crucial importance for the history of abstract art in Venezuela.
He was one of the initiators and leaders of this movement in that country, from the time when Venezuela abstraction came into being in Paris with the "Dissidents" group, to which he belonged just before the nineteen-fifties.

CARRENO is a key artist, an essential reference point, in the developpement of the historical avant-garde in contemporary Venezuelan art: winner of the National Visual Arts Prize in 1972, artistic Director of the review Integral and creator in 1966 of the Expansionist Movement
It should be mentioned that the aesthetic approach of CARRENO places his work outside the context of growing and distressing conflict, as reprensented by the escalating violence in the world (visible or otherwise) and that between and within artistics movements.
At a time of indeterminate war, which could flare up in generalized conflagration , this gives his work a special attraction and wide potential appeal.

Peran ERMINY
Traduction: John CORBETT

Manuel MERIDA'sboxes are fairly thin, square or circular in shape and protected by a sheet of glass. Inside, they contain a variety of materials such as sand, powder pigments and wood or painted metal particles set against a monochrome background or a more vivid polychrome backdrop, organized in vigorous, informal tachiste style, often involving striped patterns.
The manual manipulation or rotation of the objects around a central axis produces changing visuals forms, inciting the spectator's interactiv involvement.
Through this approach, Manuel MERIDA rejects the passive character of the fixed image and seeks to evoke continuous change rather than the representation or formal order of visual elements.

Juan CALZADILLA.
Traduction: John CORBETT

I employ movement to avoid the fixed and uniform vision. The possibility of constant change is fundamental in order to highlight the quality of matter and its behaviour.
I use mechanical and manual means to animate my works. Mobility is an accident that gives rise to perpetually differents situations, as happens at every moment in the world of nature.

Manuel MERIDA.
Traduction: John CORBETT

HOMAGE TO INTEGRATION.

The child is conscious of space.
The man is conscious of time.
The artist is conscious of energy.

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