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La aventura estético espiritual de Rafael Montilla

Black Square by Kazimir_Malevich
Black Square is an iconic painting by Kazimir Malevich.

Rafael Montilla, Diario de la India

Eduardo Planchart Licea
PhD Historia de Arte Latinoamericana UNAM

“Las escaleras de los terraplenes estaban pintadas de blanco con dibujos rojos junto a llamativos templos, unos al lado de otros de colores diferentes, eran como pinturas de abstracciones geométricas de diversos colores, tonalidades, texturas, combinaciones, armonías y atributos de formas; con colores similares a las decenas de saris de mujeres y niñas que se bañaban juntas una al lado de la otra, en las orillas donde el canvas era el Ganges.” (Rafael Montilla, Diarios de la India, 1993).

La abstracción pictórica de la serie Variaciones (2018-2021) de Rafael Montilla, artista caraqueño radicado en Miami, crea un lenguaje visual alejado de lo figurativo, lo anecdótico y lo narrativo, al asumir una estética que materializa lo trascendente para comunicar vivencias, cual alquimista del Ser. En la historia del arte moderno occidental, esta aventura estética la inició una serie de cuadros paradigmáticos, con títulos que rompían con la tradición poética del titular, eran nombres inverosímiles y anti-poéticos como: Cuadrado Blanco sobre Negro, 1913; Cuadrado Negro sobre Negro, 1915. Provocaron revuelo, escándalo y perplejidad, a pesar de haber surgido en un contexto histórico donde todo parecía estar cambiando por el advenimiento de la utopía comunista en Rusia, que devino en pocos años en distopía genocida. Al exponerse aquellos cuadros negros y blancos monocromos en la exposición 0.10, 1915 en Petrogrado, el mundo cultural clamó escandalizado: el arte había muerto. Afortunadamente no era así, el ucraniano K. Malevich (1835-1935) estaba creando un arte inspirado en los iconos rusos y en su misticismo. Décadas después, esta senda la asumió M. Rothko (1903-1970), al abandonar el expresionismo para adentrarse en el abstraccionismo geométrico como vía de acercamiento a lo sagrado, al concientizar que toda su vida había estado recreando mitos arcaicos. Estas son algunas de las propuestas fundacionales del arte del siglo XX, que fundamentan el lenguaje visual de Rafael Montilla. No podríamos dejar de mencionar su admiración por el rumano C. Brancusi (1876-1957), hacedor de obras dominadas por el anhelo de plena libertad, fundamentadas en el simbolismo de la ascensión y el vuelo en sus innumerables versiones de aves en esculturas de madera, piedra, bronce…, siendo su obra cumbre La Columna sin Fin, 1934-1938, 15 módulos romboidales de hierro cubiertos de aluminio, con un recubrimiento orgánico de 30 metros de altura en Targa Gu, Rumania, complejo escultórico en homenaje a los soldados rumanos caídos en la Primera Guerra Mundial, integrado por la Tabla del Silencio y La Puerta del Beso. “Este es el mensaje de mi columna, visto por la Mesa del Silencio y La Puerta del Beso… arden como una inmensa fogata… que se transforme en iluminación con el fin de unir el cielo con la tierra.” (Constantin Brancusi). Arte hierofánico inspirado en el arte popular rumano, en las columnas romboidales de las casas tradicionales, esta búsqueda de Brancusi lo llevó a crear esculturas como El Espíritu de Buda, 1933, que afirman una abstracción cuyo objetivo es crear metáforas de lo sagrado.

Esta aventura estético-espiritual la asume R. Montilla a través de la abstracción geométrica y las vivencias de su peregrinación por la ancestral India, experiencia que ha ido transmutando en arte en series como Variaciones (2018-2021). Cada una de estas pinturas nace de la investigación teórica y en el trabajo de taller. Esto se evidencia en el cuadro Variación 0.113, 2020, donde una línea amarilla resplandeciente genera tensiones entre franjas y fragmentos de cubos deconstruidos, sobre fondos de amarillo azafranado, generando tensiones entre dos intensidades cromáticas, que contrastan con la otra mitad del cuadro dominada por el negro, negación del color que hace referencia a la oscuridad nocturna, metáfora de los agujeros negros siderales. En cuya superficie levitan líneas rosáceas y rojas, develando progresiones emocionales. Se establece un símil al tránsito de la ignorancia a la iluminación. Solapándose significaciones para que el otro tenga el gozo cognitivo y existencial de descubrirlas, vivencias internas incomunicables, tal como lo sería el racionalizar el impacto sensible de los conciertos de Brandenburgo de J.S. Bach. Crea así esta pintura contrastes que, al alejarse de la realidad, indagan en lo que no vemos sino en lo oculto y lo presentido.

La Variación 0.114 es dominada por el blanco, absorción sintética del todo, unidad fusionada con la totalidad cromática como génesis. Es un plano de color que por su pureza acerca al receptor a la blancura de las nubes, que al tornarse grises pueden provocar chubascos, para dar nacimiento a mantos de vida al abrazar la lluvia la tierra. Color asociado también a la espuma marina que nace de las profundidades oceánicas para regalar su espumosa blancura entre rompientes ecos. Existe una compleja simbología alrededor del blanco, pero en la obra de R. Montilla se impone la ética y la mística, crea un fragmento de cubo deconstruido verde y gris entre la resplandeciente blancura. Esta Variación emana armonía al evadir la violencia de los contrastes cromáticos. A diferencia de la Variación 0.115, 2020, en donde el fondo blanco es invadido por un fragmento de cubo rojo, color asociado a la sangre, la vida, al amor apasionado, al ardor del guerrero, así cuando el héroe celta Cuchulain es dominado por la ira, su cabeza es rodeada por una corona de fuego flameante, que en el mito es neutralizada por la vergüenza que le provoca al héroe la desnudez de las doncellas que se despojan de sus vestiduras, para sofocar su incandescente cólera. Es la belleza, eros y la seducción como vía de neutralizar el tanático furor guerrero. Dialéctica que recreó Botticelli en el Renacimiento en el cuadro Venus y Marte, 1483, para evidenciar el equilibrio que debe tener eros sobre tánatos. Sentido también presente en esta Variación, donde la ira, la pasión y el belicismo del rojo son neutralizados por la pureza y la inocencia de la blancura.

Cada uno de estos cuadros se convierte en una lectura abierta, manifestación de lo numinoso, dialéctica llamada por los griegos hierofanía, y por el hinduismo budista darsana. Dos extremos laterales de cubos deconstruidos entrelazan la Variación 0.112, 2018, en el primer plano destaca una franja amarilla que pareciera saltar fuera del cuadro, pintados sobre azul celeste. En un segundo plano se percibe otra franja de colores suaves: rosados, blancos, ocres, verdes que contrastan con fragmentos de líneas rojizas. Se está ante una melodía cromática que comunica lo indecible, que anuncia el milagroso peregrinar uránico del astro solar como símil de la iluminación mística.

El amarillo domina el plano de la Variación 0.107, 2019, a través de una primera mirada un observador incauto podría percibir un plano solar, en un primer nivel sería acertada esta conjetura. Pero el tramado de líneas paralelas y entrecruzadas genera otro nivel semántico que se relacionaría a las abstracciones de Pierre Mondrian (1782-1944), influenciado por Madame Blavatsky y la teosofía. En cuadros como Broadway Boogie-Woogie, 1943, al crear una estética que buscaba expresar la fuerza y la armonía del universo, con una paleta limitada a colores primarios y líneas que asocian lo horizontales a la pasividad, y la verticalidad a la actividad. En estas últimas versiones, Mondrian representa la retícula de la dinámica ciudad de Nueva York, y su pasión por el jazz que le transmite a los cambios cromáticos un ritmo musical que impregna esta icónica serie. Las franjas de líneas de la Variación 0.107 no se fragmentan ni cambian abruptamente como los colores y el ritmo musical de Broadway Boogie-Woogie, sino hay un continuo cromático de líneas verdes, que crean un discurso geométrico de franjas paralelas entrecruzadas. La superior se pliega sobre sí en un cuadrado, y la inferior se complementa en una serie de estructuras que penetran el amarillo como muelles de un acuoso río, haciendo referencia al color del Ganges que tiende al amarillo y a los marrones propios de las turbulentas aguas que vienen de las alturas del Himalaya al fluir por Varanasi, se encuentran con terraplenes y escaleras desde donde los devotos se sumergen en las turbias aguas para liberarse del karma y del imperturbable ciclo de reencarnaciones, como los hindúes perciben la existencia.

El sentido de este cuadro se revela en el Diario de la India del artista, al rememorar las experiencias vividas en el Ganges: “Disfrutaba mucho los amaneceres con sus múltiples colores en diversas tonalidades y brillos, que cambiaban a cada segundo con el ascenso del sol. Los blancos, grises, rojos, amarillos, azules, anaranjados, verdes, morados contrastan con los coloridos saris que las mujeres lavaban junto a todo tipo de ropa de vestir; mis ojos eran atrapados por la abstracción geométrica que formaban las sábanas, manteles, cobijas, fundas, paños cuadrados, rectangulares lavados y extendidos sobre las escaleras para que el sol los secara.” (Diario de la India, 1993).

El formato de Variación 0.126 crea una atmósfera lúdica de formas que parecieran estar construyéndose y deconstruyéndose en bandas, cual caleidoscopio giratorio de color y forma, la obra se convierte en poiesis esotérica que lleva del no-ser al ser. El de formato irregular está caracterizado por una geométrica poligonal, encerrada sobre sí, negada a una simetría perfecta. Las líneas que lo rodean parecieran transformarse debido a la energía potencial que emanan. El plano de color posee diversas tonalidades de amarillos, que asocian la obra a lo solar y a su peregrinar celeste. Este dinamismo perpetuo se revela en la forma hexagonal, con sus seis lados, en cuyo interior palpita un polígono. Dinámica geométrica que expresa la energía cósmica, a la búsqueda de un reacomodo por el movimiento interior que se desprende de su centro, que pareciera estar transformándose en potenciales giros, en una silenciosa danza que se visualiza por las bandas cromáticas que se le desprenden, analogía al descorrer del velo de la ignorancia. Tal cual como cuando un mándala es internalizado por el iniciado, al generar transformaciones en la dimensión interior del meditante, al adentrarse en sus laberintos mentales y combatir sombras y demonios para reencontrarse consigo mismo. Estas geometrías sacras generan progresiones matemáticas que llevan de la multiplicidad a la unidad como expresión de la divinidad (uno = todo). Tensiones simbólicas paralelas a la cromática que van del amarillo-lumínico al blanco, para transitar a los marrones como expresión de lo telúrico.

En contraste, la Variación 0.19 es dominada por un vértice triangular rojo entre un fondo de azul celeste, asociado al festival ritual de la India del Holi, que se celebra en primavera. El rojo es predominante en el ritual colectivo entremezclado con gamas de verde y marrones para promover simbólicamente las lluvias y las buenas cosechas.

Estamos, por tanto, en la obra pictórica de Rafael Montilla, en un lenguaje que está creando un abecedario plástico y simbólico a través de sus abstracciones del Ser, que busca que el público sea motivado por la estética a evadir la ignorancia de la ilusoria trama que es la realidad, para poder ver más allá de la maya, y poder escapar al cartesiano “pienso luego existo”, y adentrarse en el “Soy y luego existo” propio de la filosofía oriental, creador de rupturas ontológicas-existenciales en la conciencia al transformar la forma de ver, sentir, amar y vivir.

Analisis:

Este texto de Eduardo Planchart Licea sobre Rafael Montilla y su obra Variaciones es una profunda reflexión que conecta la abstracción visual con dimensiones espirituales y filosóficas. La comparación de Montilla con los grandes maestros de la abstracción, como Malevich, Rothko y Brancusi, destaca el enfoque de Montilla hacia lo trascendental, buscando el alma de las formas a través de colores y composiciones geométricas que evocan experiencias místicas.

Lo interesante de este análisis es cómo se inserta la obra de Montilla dentro de un contexto más amplio de la historia del arte moderno y la conexión con lo espiritual. Al igual que Rothko, quien utilizaba el color para alcanzar lo sagrado, Montilla crea una atmósfera en la que las formas geométricas no sólo están aisladas como elementos visuales, sino como vehículos de experiencia interna. Este texto sugiere que Montilla no está simplemente pintando abstracto, sino que está creando un lenguaje simbólico cargado de significados cósmicos y filosóficos.

La referencia a la India y su influencia en la obra de Montilla es particularmente relevante. La relación con el misticismo hindú, los rituales y la percepción del mundo en términos no dualistas, reflejada en el concepto de “Soy y luego existo”, nos remite a una forma de ver el arte no como una representación de la realidad, sino como un medio para experimentar y trascender esa realidad. Montilla, por lo tanto, no es solo un pintor; es un alquimista visual que transforma la abstracción en un portal hacia una conciencia más profunda.

Además, el texto resalta el uso simbólico del color en sus obras, como el amarillo (símbolo de lo solar y lo espiritual) y el rojo (pasión, vida, guerra), creando tensiones emocionales y visuales que reflejan el conflicto entre lo material y lo inmaterial, lo humano y lo divino. Este contraste cromático es una metáfora del viaje del alma, en la que las emociones y las experiencias interiores se condensan en formas geométricas que invitan al espectador a una reflexión más allá de la superficie.

En resumen, el texto de Planchart Licea no solo describe las obras de Montilla, sino que las contextualiza dentro de un universo de ideas y símbolos que buscan trascender la experiencia visual para tocar lo esencial. La pintura se convierte en un lenguaje de revelación, un espacio donde lo inmenso y lo íntimo se encuentran. La obra de Montilla, como la de sus predecesores en la abstracción, desafía la percepción convencional del arte, invitando a los espectadores a explorar lo invisible y lo eterno a través de lo visual.

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Juanita Reverón

Armando Reverón y Juanita Mota de Reverón
Armando Reverón y Juanita Mota de Reverón

Juanita Reverón

La historia de Armando Reverón y Juanita Mota de Reverón está envuelta en un aura de magia, tragedia y delirio. En este texto, la desaparición de Reverón no solo sella el destino de Juanita, sino que transforma el mítico Castillete en un escenario de espectros y ausencias. Con una prosa poética y evocadora, se teje un relato donde la identidad se desdobla y la locura se convierte en una forma de resistencia ante la pérdida. La luz y la sombra, elementos esenciales en la obra del maestro, cobran aquí un significado existencial, marcando el tránsito entre el olvido y la persistencia de la memoria.

Este texto fue extraído del perfil de Facebook de Daniel Hernández (https://www.facebook.com/danher50)

Por Víctor Mosqueda Allegri

Cuando Reverón fue enviado al manicomio por última vez y para siempre, Juanita rápidamente murió de tristeza, dicen los cronistas. Murió ahogada por la espuma blanca, prístina y cegadora, de un oleaje de recuerdos; murió aplastada por la oscuridad de El Castillete, donde la luz había decidido partir junto con Reverón para no volver; murió de silencio y melancolía. Murió de cordura y abandono; porque incluso el último de los Panchos decidió marcharse, sin ánimos de mirar atrás. Tomó una maletita de cuero, y metió allí algunos de sus cachivaches y medio racimo de cambures. Se marchó a la selva que rodea las playas de Macuto, para alfabetizar a los monos que se encontrara en su camino, y enseñarles a usar, también, tenedores, corbatines y sombreros. Con el último Pancho y la luz, también se fueron las visitas. Juanita se quedó sola en un rancho laberíntico lleno de muñecas; en un harem de concubinas enamoradas, sin su señor. Pero también las muñecas empezaron a marcharse poco a poco. Cada noche, Juanita contaba a sus compañeras y a la mañana siguiente una hacía falta. Algunas aparentemente lograban escapar ilesas. Pero a otras las encontró a medio camino de huida. Una despeñada por el desfiladero delante del rancho, siendo devorada por los cangrejos de la playa. Otra, destazada en los bordes de la selva, quizás por un cunaguaro o algún felino mayor. Una última destripada por zamuros daltónicos, que no hacían diferencia entre trapo sucio y carne humana.

Pero todo acabó cuando se terminaron de marchar los pájaros. En la malla del patio, no quedaban ni los piojos de algún pajarito de papel. Sólo entonces, la luz terminó de abandonar cada espacio respirable, y las tinieblas inundaron El Castillete. Juanita tuvo que aprender a caminar a tientas, a vivir a tientas, como un ciego, como un lúcido, incluso a plena luz del abrasador sol de la costa. No era posible ver un solo color en kilómetros de paisaje; ni amarillo, ni verde, ni naranja, ni azul… ni mucho menos blanco.

Juanita entonces abrió el baúl de Armando y sacó sus ropas. Cosió y descosió a ciegas y los arremendó a su medida. Se puso la ropa raída encima y se subió a un cocotero. Despeinó docenas de cocos y con sus pelos se hizo una barba poblada, con la que adornó la mitad de su cara y se hizo también un vello corto y rizado que rellenó buena parte de su pecho y abdomen. Cambió el color de su piel con los patuques blancos de Armando. Buscó los pinceles, las telas, el atril, se sacó la camisa, se ató un mecate fuertemente a la cintura, tan fuerte que cortaba la respiración y las ideas, y comenzó a pintar. Poco a poco Juanita se fue diluyendo de El Castillete, y la luz comenzó su lento regreso. Con Armando Reverón una vez más en su rancho trabajando todo el día, un nuevo Pancho se presentó para el oficio de portero, las muñecas regresaron del más allá, por medio de ritos espeluznantes que la misma noche realizó, los pájaros volvieron, esta vez con esposas e hijos, y las visitas comenzaron a tocar a la puerta esperanzadas de ver al maestro.

Mientras tanto, en la celda de un psiquiátrico, moría rápidamente Juanita Mota, de tristeza, de soledad, de oscuridad y de cordura. Armando, en su rancho, la dibujaba día y noche, con el recuerdo fijo en una obsesión, tratando de traerla de regreso, y con ella, al resto de la luz.

Comentario de Sandro Oramas

Poético y conmovedor este texto pero obviamente lejos de la realidad. Si bien admiro y respeto el autor, siento la obligación de aclarar, más allá de lo que pudiera aportar este el ejército literario y narrativo, que Juanita no murió inmediatamente después de su esposo (Reverón) sino muchos años más tarde. No murió en la celda de un psiquiátrico ni abandonada, todo lo contrario, murió acompañada por sus vecinos de la comunidad y allegados quienes la cuidaron hasta sus últimos días en el castillete. De esto y más soy testigo porque la conocí personalmente. Apenas tenía 10 años. Pernocté en el castillete compartiendo a temprana edad las tareas museológicas de mis padres mientras trabajaban en el rescate las muñecas y objetos de utilería artística de Reverón para convertir el castillete en un museo, que inauguró más tarde nuestro querido Aquiles Nazoa. Aún las telas vírgenes de Reverón colgaban del techo del Caney central y Juanita nos preparaba el desayuno en la vieja cocina donde por años cocinó para su adorado Armandito. El olor de las muñecas mezclado con el aroma del salitre e impregnaba el reluciente verdor de las mañana en el castillete. Una imagen que me quedó literalmente tatuada en la memoria. Por eso puedo hablar con propiedad ya que soy de las últimas personas que tuvieron el privilegio de vivir desde las entrañas del tiempo el espacio vivencial de Reverón. Creo que si bien todos tenemos la libertad de idealizar e inspirarnos con las figuras de Reverón y Juanita, también demasiados mitos y desafortunadas leyendas se han sembrado en el imaginario popular y la historiografía de lo que fué la verdadera identidad y vida del pintor y su consorte. De allí una imagen trillada de “el loco de Macuto” y de Juanita Mota la musa “negra” del artista perverso, cuando en realidad Juanita era simplemente una mujer sencilla del pueblo que Reverón veneró no solo como modelo sino como a una virgen hasta el final de sus días. Dignifiquemos entonces la imagen y genio del artista y su consorte con el mayor respeto a su memoria, como un patrimonio ejemplar del genio creador de los venezolanos.

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TOLEDO MUSEUM OF ART ANNOUNCES UPCOMING GENERATEIVE ART EXHIBITION AND THE 2025 DIGITAL ARTISTS IN RESIDENCE

Quayola, Jardins d'Ete, 2017. Single-channel video with sound, 43:12 min. Photo © Quayola, courtesy of the artist
Quayola, Jardins d'Ete, 2017. Single-channel video with sound, 43:12 min. Photo © Quayola, courtesy of the artist

TOLEDO MUSEUM OF ART ANNOUNCES UPCOMING GENERATEIVE ART EXHIBITION AND THE 2025 DIGITAL ARTISTS IN RESIDENCE
 
INFINITE IMAGES, A BOUNDARY-PUSHING DIGITAL ART EXHIBITION WILL OPEN TO THE PUBLIC ON JULY 12
 
EMILY XIE AND DANIEL HERNANDEZ HAVE BEEN NAMED THE 2025 TMA LABS DIGITAL ARTISTS IN RESIDENCEE 

The Toledo Museum of Art (TMA) is pleased to announce Infinite Images: The Art of Algorithms. A generative art exhibition curated by digital art expert Julia Kaganskiy, will be on view from July 12 – November 30, 2025. In addition, Emily Xie and Daniel Hernandez have been named the 2025 TMA Labs Digital Artists in Residence. The culmination of their work will be exhibited in the museum in September with more details to follow in the coming months.

Infinite Images: The Art of Algorithms explores the history and evolution of generative art, emphasizing its foundational role before AI-generated imagery. Generative art, which relies on rule-based systems—whether written instructions or coded algorithms—has existed since at least the 1960s, with precedents in 13th-century Islamic tile work. The exhibition highlights pioneers like Vera Molnar, who developed algorithmic processes before using a computer, alongside artists from Minimalism, Conceptual Art, Bauhaus, and Concrete Art.

Featuring works by 24 artists, Infinite Images examines themes of Chance and Control, Digital Materiality, and Coded Nature, showcasing both digital and physical works, including large-scale installations by Sarah Meyohas, Operator, and Sam Spratt. Interactive experiences invite audiences to engage with the procedural nature of generative art. This survey exhibition will be one of the first of its kind at a historic American art museum. The exhibition will showcase work by Sofia Crespo, Tyler Hobbs, Vera Molnar, Casey Reas, Quayola, Snowfro, and 2025 TMA Labs Artist in Residence Emily Xie, among many others. Infinite Images demonstrates TMA’s status as an innovator, existing at the crossroads of digital art and traditional museological programming.

Building on the success of the 2023 and 2024 Digital Artist Residency Programs, TMA, under the banner of its digital arts-focused venture, TMA Labs, has invited Emily Xie and Daniel Hernandez to participate in the 2025 edition. Xie is a New York City-based visual artist who works with code and computation to create lifelike textures and forms. Her digital artworks explore the evolving relationships between diverse materials and mythology, memory, tradition, and heritage. Toledo-based Hernandez is similarly interested in conveying a visual dialogue surrounding mythology and contemporary forms through his work. His colorful works act as contemporary retellings of historic mythological and religious tales. Xie and Hernandez will work together for the entirety of the residency to create an array of new artworks that will eventually be put on public display in September 2025. Formal opening date to be shared soon.

About Toledo Museum of Art 
Recently named the 2025 Best Art Museum in the USA TODAY 10 Best Readers’ Choice Awards, the Toledo Museum of Art (TMA) is a beloved cultural institution in Toledo, Ohio, and a global leader in the museum field. Established in 1901, its renowned collection features over 25,000 works, ranging from antiquity to contemporary art, and includes one of the finest collections of glass in the world. Situated on a 40-acre campus, TMA integrates art into people’s lives through its world-class collection, engaging exhibitions, robust educational programs, and community outreach.  

Admission and parking to TMA are always free, welcoming everyone to explore its galleries. The museum is open Wednesday, Thursday, and Sunday from 11 a.m. to 5 p.m. and Friday and Saturday from 11 a.m. to 8 p.m. It is closed on Monday, Tuesday, and select holidays. TMA is located at 2445 Monroe Street Toledo, OH 43620., just one block off I-75, with exit signs posted for easy access. For more information, call 419-255-8000 or visit toledomuseum.org

About TMA Labs
The development of TMA Labs was inspired by the Toledo Museum of Art’s desire to become the lead museum innovator in the web3 and digital art space. TMA Labs is committed to engaging both local and global communities through the utilization of technology to support the museum’s mission to integrate art into the lives of people.    

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About Julia Kaganskiy
Julia Kaganskiy is an independent curator based in New York City. She has been working at the forefront of art and technology since 2008 as a curator, editor, and cultural strategist. She was the founding director of NEW INC, the first museum-led incubator for art, design and technology at the New Museum. She has conceived and organized exhibitions for HEK (Basel), LAS Art Foundation (Berlin), Matadero Madrid (Madrid), 180 the Strand (London), Borusan Contemporary (Istanbul), Science Gallery (Dublin), Eyebeam (New York City) and many others.

Visitor Information
The Toledo Museum of Art is a nonprofit arts institution funded through individual donations, foundation grants, corporate sponsorships, and investments. Admission to the Museum is always free. For general information, visitors can call 419-255-8000 or 800-644-6862 or visit toledomuseum.org.

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​Wednesday, Thursday, Sunday, 11 a.m.–5 p.m.
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TMA is closed on Monday, Tuesday, and select holidays.

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Décio Noviello Pop Subversion

Décio Noviello Pop Subversion
Décio Noviello Pop Subversion

Décio Noviello Pop Subversion

Mayorgallery.com

5 February – 28 March 2025 PV: 6 February, 6 – 8pm

Décio Noviello (1929-2019), a key figure in Brazil’s pop art and avant-garde movements in the 1960s and 1970s, stands as a testament to the transformative power of art in addressing political, cultural, and societal issues. This is his first exhibition in London and coincides with the Royal Academy’s ‘Brazil! Brazil!’ spring exhibition and the current renewed interest in South American art.
A self-taught artist, Noviello began his practice whilst enrolled as a cadet during the Brazilian military dictatorship (1964 to 1985). Characterized by political repression, censorship, and widespread human rights abuses, the government gained sweeping powers to dissolve Congress, censor media, and silence critics. Despite the repression, resistance movements emerged, including artists, intellectuals, and activists who used their platforms to challenge the regime and advocate for democracy, risking arrest, torture, exile, and death. Two pivotal movements—the neo-avant-garde and pop art—redefined Brazilian contemporary art in response to this oppressive climate.
Décio Noviello’s work is embodied by his bold use of color and playful yet subversive imagery. While he embraced the aesthetics of pop art, he infused his work with a distinctly Brazilian sensibility, incorporating elements of local culture, history, and politics to celebrate Brazil’s cultural identity while critiquing the military regime. He gained recognition by winning several prestigious awards at art salons nationwide. His breakthrough came from participating in the 10th São Paulo Biennial in 1969.
A multidisciplinary artist, his work, which extended to conceptual and performance art, carnival decorations, theatrical costumes, and set designs, cemented his reputation as a multifaceted artist capable of bridging diverse artistic disciplines. With his ability to merge high art with popular traditions, he and other artist contemporaries such as Hélio Oiticica and Antônio Dias brought politically charged art into the public sphere, energizing local communities.
In 1970, during the Semana de Arte de Vanguarda (Avant-Garde Art Week), Noviello detonated colored grenades in Belo Horizonte’s Municipal Park, filling the green park with bursts of color. This was a striking visual spectacle and a powerful commentary on disruption and transformation. Noviello later described the act as an “intervention in the landscape,” emphasizing his intention to challenge the monotony of everyday life and inspire new ways of seeing.
Noviello’s interdisciplinary approach also extended to education. Between 1950 and 1960, he served as an army officer and a professor at the Escola de Belas Artes and the University of Minas Gerais. He mentored countless students, sharing his innovative techniques and encouraging them to explore art as a tool for social commentary.
His influence as an educator ensured that his legacy would endure through the work of younger generations. By the time of his retrospective at the Museu Mineiro in 2016, Noviello had become a defining figure in Brazilian contemporary art. His works celebrated in institutions like São Paulo’s Museum of Modern Art and the Walker Art Center’s 2015 ‘International Pop’ exhibition, which traveled to the Dallas Museum of Art and the Philadelphia Museum of Art, encapsulate the avant-garde and pop art movements’ defiance of Brazil’s dictatorship. Artists like Noviello and Oiticica proved the power of creative expression to confront political oppression and shape cultural identity, leaving a legacy of enduring impact on art and activism.

Bio.

Décio Noviello (1929-2019), a key figure in Brazil’s pop art and avant-garde movements in the 1960s and 1970s, stands as a testament to the transformative power of art in addressing political, cultural, and societal issues. This is the first exhibition of his in London and coincides with the Royal Academy’s ‘Brazil! Brazil!’ spring exhibition, along with the current renewed interest in South American art.
A self-taught artist, Noviello began his practice whilst enrolled as a cadet during the Brazilian military dictatorship (1964 to 1985). Characterized by political repression, censorship, and widespread human rights abuses, the government gained sweeping powers to dissolve Congress, censor media, and silence critics. Despite the repression, resistance movements emerged, including artists, intellectuals, and activists who used their platforms to challenge the regime and advocate for democracy, risking arrest, torture, exile, and death. Two pivotal movements—the neo-avant-garde and pop art—redefined Brazilian contemporary art in response to this oppressive climate.
Décio Noviello’s work is embodied by his bold use of color and playful yet subversive imagery. While he embraced the aesthetics of pop art, he infused his work with a distinctly Brazilian sensibility, incorporating elements of local culture, history, and politics to celebrate Brazil’s cultural identity while critiquing the military regime. He gained recognition by winning several prestigious awards at art salons across the country. His breakthrough came with his participation in the 10th São Paulo Biennial in 1969.
A multidisciplinary artist, his work, which extended to conceptual and performance art, carnival decorations, theatrical costumes, and set designs, cemented his reputation as a multifaceted artist capable of bridging diverse artistic disciplines. With his ability to merge high art with popular traditions, he and other artist contemporaries such as Hélio Oiticica and Antônio Dias brought politically charged art into the public sphere, energizing local communities.
In 1970, during the Semana de Arte de Vanguarda (Avant-Garde Art Week), Noviello detonated colored grenades in Belo Horizonte’s Municipal Park, filling the green park with bursts of color. This was not only a striking visual spectacle but also a powerful commentary on disruption and transformation. Noviello later described the act as an “intervention in the landscape,” emphasizing his intention to challenge the monotony of everyday life and inspire new ways of seeing.
Noviello’s interdisciplinary approach also extended to education. Between 1950 and 1960, he served as an army officer and then as a professor at the Escola de Belas Artes and the University of Minas Gerais. He mentored countless students, sharing his innovative techniques and encouraging them to explore art as a tool for social commentary.
His influence as an educator ensured that his legacy would endure through the work of younger generations. By the time of his retrospective at the Museu Mineiro in 2016, Noviello had become a defining figure in Brazilian contemporary art. His works celebrated in institutions like São Paulo’s Museum of Modern Art and the Walker Art Center’s 2015 ‘International Pop’ exhibition, which traveled to the Dallas Museum of Art and the Philadelphia Museum of Art, encapsulate the avant-garde and pop art movements’ defiance of Brazil’s dictatorship. Artists like Noviello and Oiticica proved the power of creative expression to confront political oppression and shape cultural identity, leaving a legacy of enduring impact on art and activism.

Cover image: Decio Noviello, 3 Horizante (Detail), 1969, Acrylic on canvas, 100 x 100 cm

The Mayor Gallery Mayorgallery.com

Opening times: Monday – Friday, 10 am – 5.30 pm Press enquiries: Amy Baker: [email protected]

9 Bury Street, St James’s, London, SW1Y 6AB +44(0)2077343558

Perez Art Museum PAMM
Pérez Art Museum Miami

Artists 20th and 21st-century art

Jean Albert Gorin
Jean Albert Gorin

These diverse artists, each carving a unique space in the history of 20th and 21st-century art:

  • Billy Apple®: A conceptual pioneer, Apple’s work interrogates the very definition of art and authorship. From changing his birth name to a trademarked logo to his explorations of corporate identity and the art market, his practice is a relentless critique of art’s commodification and institutionalization.
  • Armando: Dutch painter, sculptor, and writer; Armando’s work grapples with the lingering trauma of World War II. His paintings and sculptures, often characterized by raw, gestural marks and somber tones, explore themes of guilt, memory, and the “guilty landscape.”
  • Imre Bak: A key figure in Hungarian Neo-Avant-Garde, Bak’s paintings are marked by geometric abstraction and a vibrant color palette. His work often references architectural forms and optical illusions, creating a dynamic interplay between space and perception.
  • Hans Bellmer: Known for his unsettling and provocative sculptures and photographs of dolls, Bellmer’s work delves into the darker recesses of the human psyche. His exploration of sexuality, fetishism, and the fragmented body remains both disturbing and compelling.
  • Stephen Buckley: British painter and sculptor Buckley’s work is characterized by its playful and experimental approach to materials and form. He often incorporates unconventional materials and techniques, creating works that blur the lines between painting and sculpture.
  • Feliza Bursztyn: Colombian sculptor Bursztyn’s kinetic sculptures, often made from scrap metal, are potent expressions of social and political commentary. Her works, which moved and made sounds, reflected the turbulent realities of her time.
  • Carlos Cairoli: A Uruguayan artist, Cairoli is known for his work in kinetic art and optical illusions. His work often uses light and movement to create immersive and interactive experiences.
  • Rafael Canogar: A Spanish painter and sculptor, Canogar’s work evolved from abstract expressionism to a more figurative style that often addressed social and political issues. It displays a powerful sense of texture and dramatic composition.
  • Miguel Chevalier: A pioneer in digital and virtual art, Chevalier creates immersive installations that explore the relationship between art, science, and technology. His work often incorporates generative algorithms and interactive elements.
  • Gianni Colombo: Italian kinetic and programmed art pioneer. Colombo’s work focused on the perception of space and movement. His installations and objects, often involving light and motion, create dynamic and disorienting visual experiences.
  • Bruce Conner is an American artist known for his experimental films, collages, and sculptures. His work is characterized by its eclectic use of found materials and its exploration of themes of mortality, media, and social commentary.
  • Constant: Dutch painter, sculptor, and urban theorist Constant’s “New Babylon” project envisioned a utopian society where art and play were integrated into everyday life. His work explores the relationship between art, architecture, and social transformation.
  • Waldemar Cordeiro: Brazilian artist Cordeiro was a pioneer of concrete art and cybernetic art in Brazil. He was an early proponent of using computers in art, exploring the relationship between technology and aesthetics.
  • Joseph Cornell: American artist Cornell’s delicate and enigmatic box constructions are miniature worlds filled with found objects and personal symbolism. His work evokes a sense of nostalgia, wonder, and mystery.
  • Braco Dimitrijević: Bosnian conceptual artist Dimitrijević’s work challenges the traditional notion of the art object and the artist’s role in society. For example, his “Casual Passer-By” series elevates ordinary individuals to the status of art.
  • Óscar Domínguez: Spanish surrealist painter, Domínguez’s work is characterized by its dreamlike imagery and exploration of the subconscious. He is known for his “decalcomania” technique, which creates abstract and organic patterns.
  • Max Ernst: A German painter, sculptor, and graphic artist, Ernst was a key figure in the Dada and Surrealist movements. His work is characterized by imaginative imagery, exploration of the subconscious, and use of unconventional techniques.
  • Stano Filko: Slovak conceptual artist Filko’s work explores themes of identity, spirituality, and the relationship between art and life. His installations and performances often incorporate personal symbols and autobiographical elements.
  • Lucio Fontana: Italian painter and sculptor Fontana is best known for his “slash” paintings, which challenged the traditional notion of the canvas as a flat surface. His work explores the relationship between space, light, and materiality.
  • Raimund Girke (1930–2002): A German painter known for exploring white as a primary medium, Girke’s work evolved from gestural abstraction to a minimalist approach emphasizing movement, rhythm, and optical depth. His monochromatic and textural canvases challenge viewers to engage with subtle light variations, reflecting a meditative, almost transcendental quality.
  • Jan Henderikse (b. 1937): A Dutch artist and founding member of the Nul movement, Henderikse’s work aligns with New Realism and Minimalism. It utilizes found objects, industrial materials, and repetition. His assemblages of bottle caps, license plates, and neon signs transform everyday detritus into compositions that critique consumer culture and the aesthetics of mass production.
  • Georges Hugnet (1906–1974): Hugnet was a French artist, poet, and surrealist known for his collage works, which played with eroticism, humor, and visual dislocation. His collaborations with figures like André Breton and Marcel Duchamp underscore his role in expanding the boundaries of visual poetry and Dadaist experimentation.
  • Paul Klee (1879–1940): A pioneering figure in modern art, Klee’s work straddles Expressionism, Cubism, and Surrealism. Music, nature, and children’s art inspired his delicate compositions, abstract symbols, and vibrant color harmonies. A member of the Bauhaus movement, Klee’s innovative theories on form and color influenced generations of abstract painters.
  • Július Koller (1939–2007): A Slovak conceptual artist, Koller is best known for his anti-art interventions and U.F.O. (Universal Futurological Operations) series, which questioned the role of art in a totalitarian society. His text-based works, symbolic question marks, and performance-driven gestures made him a radical critic of institutional authority in the Eastern Bloc.
  • Attila Kovács (b. 1951): A Hungarian artist recognized for his geometric abstraction, Kovács explores the relationships between form, color, and space. His meticulous, methodical compositions often reference architectural structures, creating a dialogue between rigidity and optical dynamism.
  • Tadaaki Kuwayama (b. 1932): A Japanese Minimalist painter in New York, Kuwayama embodies Zen philosophy through its strict geometric precision and metallic color fields. Rejecting subjectivity, his work eliminates any trace of the artist’s hand, creating an impersonal yet meditative experience akin to pure perception.
  • Verena Loewensberg (1912–1986): A Swiss Concrete artist, Loewensberg was part of the Zürich school of Constructivism. She was known for her precise geometric compositions, which played with vibrant colors and spatial tension. Her work reflects a deep engagement with mathematical order and dynamic visual structures.
  • Lucia Di Luciano (b. 1933): An Italian Op and Concrete artist, Di Luciano was part of the GRAV (Groupe de Recherche d’Art Visuel) movement. Her work investigates the perceptual effects of color and form, creating optical interactions through systematic, modular patterns that resonate with programmed art aesthetics.
  • Robert Mallary (1917–1997): An American sculptor and early pioneer of computer-generated art, Mallary combined industrial materials, such as resin and sawdust, with algorithmic processes. His abstract, layered reliefs prefigured the digital age, emphasizing the fusion of technology and tactile materiality.
  • Aiko Miyawaki (1929–2014): A Japanese artist known for her sculptural explorations of space, Miyawaki created ethereal, metallic wire installations that appear weightless and interact with natural light and air. Her work bridges Minimalism and traditional Japanese aesthetics, offering ephemeral, almost poetic structures that challenge the permanence of form.
  • Vera Molnár (1924–2023): A pioneer in algorithmic art, Molnár was among the first artists to use computer programming in visual compositions. Her works explore permutations of geometric shapes, creating seemingly random yet precisely calculated arrangements that question the intersection of art, logic, and randomness.
  • François Morellet (1926–2016): A key figure in geometric abstraction and kinetic art, Morellet’s works use systematic grids, neon lights, and randomness to challenge conventional artistic authorship. His interactive, mathematical approach to art anticipated conceptual and generative design principles.
  • Marlow Moss (1889–1958): A British Constructivist and pioneer of Neo-Plasticism, Moss expanded on Mondrian’s theories of geometric abstraction, introducing the double line motif to disrupt compositional balance. Her work is a critical yet underrecognized contribution to De Stijl and the Constructivist movements.
  • Nadja (1902–?): A muse and a central figure in Surrealist mythology, Nadja was immortalized in André Breton’s eponymous novel (1928). Though not an artist, she embodied the Surrealist fascination with the subconscious, mystery, and feminine enigma, influencing the movement’s discourse on reality and illusion.
  • Man Ray (1890–1976): A seminal Dadaist and Surrealist, Man Ray revolutionized photography through his “Rayographs”—cameraless photographs that played with shadow and abstraction. His work across mediums—painting, film, and assemblage—pushed the boundaries of perception, chance, and unconscious symbolism.
  • Mira Schendel (1919–1988): A Brazilian artist known for her delicate, ethereal drawings and paintings, Schendel’s work engaged with language, texture, and existential inquiry. Her semi-transparent rice paper works, featuring fragile lines and letters, evoke a poetic minimalism that connects materiality with philosophical depth.
  • Kurt Seligmann (1900–1962): A Swiss Surrealist painter and engraver, Seligmann’s fantastical compositions fused baroque flourishes with mythological themes. His interest in alchemy, esotericism, and the grotesque made him a distinct yet underappreciated voice within the Surrealist movement.
  • Turi Simeti (1929–2021): An Italian Zero Group artist, Simeti is known for his monochromatic reliefs, particularly his oval-shaped cutouts that manipulate light and shadow. His minimalist approach emphasizes surface tension and spatial ambiguity, situating his work in dialogue with Lucio Fontana’s spatial investigations.
  • Julian Stanczak (1928–2017): Julian Stanczak was a Polish-born American painter and a central figure in the Op Art movement. His work is characterized by vibrant, meticulously calculated compositions that explore the perceptual effects of color and form. Stanczak’s paintings often create the illusion of movement, challenging the viewer’s visual perception. His use of color relationships and geometric precision reflects a deep understanding of optical phenomena, making his work scientifically intriguing and aesthetically captivating. Stanczak’s art transcends mere visual trickery, evoking a sense of harmony and rhythm that resonates emotionally with the viewer.
  • Klaus Staudt (1932–2021): Klaus Staudt was a German artist associated with concrete art and geometric abstraction. His work is defined by its rigorous adherence to mathematical principles and its exploration of spatial relationships. Staudt often employed grid structures and monochromatic palettes to create works emphasizing precision and clarity. His art is not about representation but the purity of form and the interplay of light and shadow. Staudt’s contributions to Concrete Art lie in his ability to transform cold, calculated geometries into meditative experiences.
  • Shinkichi Tajiri (1923–2009): Shinkichi Tajiri was a Japanese-American sculptor whose work spans many styles and materials, from abstract expressionism to kinetic art. Tajiri’s sculptures often incorporate elements of tension and movement, reflecting his interest in the dynamics of form and space. His “Warrior” series, for example, combines organic and mechanical elements, symbolizing the duality of human nature. Tajiri’s multicultural background and experiences during World War II profoundly influenced his work, infusing it with conflict, resilience, and identity themes. His art is a testament to the power of transformation and the fusion of Eastern and Western aesthetics.
  • Paul Thek (1933–1988): Paul Thek was an American artist whose work defies easy categorization, blending sculpture, painting, and installation elements. He is best known for his “Technological Reliquaries,” which critique the dehumanizing effects of modernity and technology. Thek’s use of unconventional materials, such as wax and latex, gives his work a visceral, almost corporeal quality. His art is deeply introspective, often exploring themes of mortality, spirituality, and the human condition. Thek’s influence on contemporary art lies in his willingness to confront the uncomfortable and reject artistic conventions.
  • Luis Tomasello (1915–2014): Luis Tomasello was an Argentine artist associated with the Kinetic Art movement. His work is characterized by its light, color, and three-dimensionality exploration. Tomasello’s “Atmosphères “chromo plastiques series features modular structures that create dynamic optical effects as the viewer moves around them. His use of reflective surfaces and geometric patterns transforms the viewer’s perception of space, making the artwork an interactive experience. Tomasello’s art celebrates light as a medium, bridging the gap between painting and sculpture.
  • Günther Uecker (b. 1930): Günther Uecker is a German artist best known for associating with the ZERO movement. His work often incorporates nails as a primary material, creating textured, monochromatic surfaces that play with light and shadow. Uecker’s art is deeply symbolic, with the nails representing destruction and renewal. His kinetic installations and light-based works further explore the interplay of movement and perception. Uecker’s art is a powerful commentary on the human experience, blending minimalism with profound emotional depth.
  • Gerhard von Graevenitz (1934–1983): Gerhard von Graevenitz was a German artist and a key figure in the Concrete and Kinetic Art movements. His work is characterized by its systematic approach and exploration of movement and perception. Von Graevenitz often used mechanical elements to create dynamic, interactive sculptures that challenge the viewer’s understanding of space and time. His art is a fusion of science and aesthetics, reflecting his belief in the transformative power of art. Von Graevenitz’s contributions to Kinetic Art lie in his ability to make the invisible forces of movement and light tangible.
  • Herbert Zangs (1924–2003): Herbert Zangs was a German artist known for his experimental approach to painting and sculpture. His work often involves “whitewashing,” where he covers objects or canvases in white paint, obscuring their original forms. Zangs’ art is deeply conceptual, exploring themes of reduction, transformation, and the passage of time. His use of white as a symbol of purity and renewal reflects his interest in the metaphysical aspects of art. Zangs’ work bridges Dadaism and Minimalism, challenging traditional notions of artistic expression.

These artists have made significant contributions to the art world, pushing the boundaries of their respective mediums and movements. Their work inspires and challenges viewers, offering new ways of seeing and understanding the world.

Perez Art Museum PAMM
Pérez Art Museum Miami

The Soul of Matter

The Soul of Matter
The Soul of Matter

The Soul of Matter

Mundo Arte Gallery presents The Soul of Matter, an evocative group exhibition curated by Fernando Fernandez, running from February 15 to March 15, 2025. The opening reception will take place on February 15 from 7 to 10 PM at 1746 NE 163rd St, North Miami Beach, FL. Complimentary parking is available at the furniture store next door.

In The Soul of Matter, artistic creation becomes an essential pursuit where materiality is not merely a medium but the very essence of expression. The exhibition features the works of four Miami-based contemporary artists—Marco Caridad, Sharon Berebichez, Verónica Pasman, and Marilyn Valiente—who engage with abstraction to reveal the intangible within the tangible. Their work transcends the physical realm, using materials, textures, and gestures to create a contemplative space where matter becomes a conduit for deeper meaning.

As contemporary society becomes increasingly digital and dematerialized, The Soul of Matter presents a counterpoint to this shift by emphasizing the power of physical materials in artistic expression. In an era where artificial intelligence and virtual reality redefine the limits of creativity, this exhibition reasserts the significance of touch, texture, and the raw presence of artistic mediums. These works not only challenge our perception of materiality but also reflect a global yearning for authenticity, human connection, and tangible experiences in an overwhelmingly virtual world.

Through an interplay of intuitive marks and deliberate choices, the exhibition explores how materials embody emotions, concepts, and spiritual connections. These artists redefine abstraction as a means of storytelling, transforming ordinary elements into profound visual narratives. Curated by Fernando Fernandez, The Soul of Matter invites viewers to experience a dynamic dialogue between the physical and the metaphysical, challenging perceptions of what art can convey beyond its material form.

About the Artists

Marco Caridad
Venezuelan-born and Miami-based, Marco Caridad’s work explores the intersections of materiality, symbolism, and social narratives. His practice delves into themes of migration, memory, and belief systems, often incorporating unconventional materials such as burnt book pages, petroleum, and electrical cables. With a background in visual arts, graphic design, and theater, Caridad’s textured assemblages challenge traditional forms, prompting viewers to reflect on faith, knowledge, and cultural identity.

Sharon Berebichez
Originally from Mexico City and based in Miami for over a decade, Sharon Berebichez is a multidisciplinary artist working across painting, ceramics, assemblage, and sculpture. In recent years, her focus on fiber art—particularly embroidery—has become a meditative process for exploring identity, migration, and heritage. Drawing from her Mexican, Guatemalan, and Jewish roots, Berebichez incorporates rich textures and materials that weave together cultural memory and contemporary abstraction.

Marilyn Valiente
A Cuban-born visual artist residing in Miami, Marilyn Valiente bridges abstraction and reality in her work, addressing themes of human struggle, spirituality, and resilience. With a background in both art and psychology, she explores the repetition of patterns—both in thought and storytelling—translating them into layered compositions rich with bold colors, textures, and symbolic text. Now a full-time artist with a studio at Miami International Fine Arts, Valiente’s work serves as a compelling dialogue on transformation and identity.

Verónica Pasman
Born in Argentina and now based in Miami, Verónica Pasman creates a harmonious balance between structure and spontaneity in abstraction. Her paintings, infused with rhythm and organic forms, have been featured in private collections and luxury spaces, including Coral Sands Hotel in Bal Harbour and Norman’s Key Villas in the Bahamas. Pasman’s work captures the fluidity of motion and the interplay between control and intuition, inviting viewers into a realm of dynamic expression.

Tel 9549949894

1746 NE 163rd St, North Miami Beach, FL 33162

Perez Art Museum PAMM
Pérez Art Museum Miami

ÉL CAMINAR DE UN ARTISTA DESDE LA MIRADA DE UN ESPECTADOR

Maria del Mar

ÉL CAMINAR DE UN ARTISTA DESDE LA MIRADA DE UN ESPECTADOR

Por: Maria del Mar Montilla

El camino del artista en esencia es un camino esperitual ya qué la persona sirve como canal para darle sentido aquello qué se le manifiesta, facilitando la práctica a través de la creatividad y al mismo tiempo conecta con ese niño o niña qué lleva en su interior, dándole la excusa perfecta para tener la ropa llena de pintura, jugar con diferentes materiales, texturas y colores. Es experimentar, ser curioso e inquietos y
tener toda la libertad de darle rienda suelta a la imaginación y la improvisación.

El proceso de creación es una cita a solas entre el artista, la inspiración y los recursos qué utiliza, permitiendo fluir la energía divina, haciendo de cada instante un momento único, porque cada obra, pintura o instalación es la apertura de nuevas experiencias, nuevos aprendizajes, enriqueciendo y expandiendo el andar de su camino, teniendo en cuenta qué cada dificultad es una puerta qué abre otras
posibilidades.

Los artistas tienen una conexión particular con el mundo ya que desarrollan una sensibilidad con lo que lo rodea, manteniéndose abiertos a toda experiencia sensorial, debido a que cualquier cosa puede convertirse en una fuente de inspiración, permitiendo que sus obras sean una ventana a su interior, expresando su sentir de una manera especial y sublime, ya qué el arte se siente, no se piensa.

Un espectador al apreciar una obra puede experimentar diferentes reacciones, tales como alegría, curiosidad, paz, reflexión, conexión personal, entre otras, dado que cada persona aporta su propia historia y emociones a la interpretación de las piezas.

El arte es un acto de Fe porque es entregarse a ciegas a esa energía que se les expresa, transformando lo intangible en tangible, dándole vida a cada pieza, pincelada o escultura, viendo con claridad lo que otros no ven. Siendo sus obras una expresión de su ser y un testimonio de su viaje creativo.

En conclusión, el camino del artista es un baile entre lo espiritual y lo terrenal en el qué cada persona canaliza y materializa lo que se le expresa, siendo sus obras una representación visual de su interior, además la creatividad juega un papel fundamental en la vida de cada creador, ya qué es una herramienta que se usa desde la expresión personal hasta la transformación social.

Él arte más qué mirarse con los ojos, se observa con él alma.

Perez Art Museum PAMM
Pérez Art Museum Miami

The Flow of Water, Michelle Drummond

The Flow of Water Michelle Drummond

The Flow of Water, Michelle Drummond: Opening Reception

Mar 13, 2025

From: 6:00 PM to 9:30 PM

The ARC (Arts & Recreation Center)

675 Ali Baba Avenue
Opa-Locka, FL 33054

The Flow of Water, Michelle Drummond – Opening Reception! Join us at The ARC (Arts & Recreation Center).

The Flow of Water Michelle Drummond
Michelle Drummond

The Ten North Group Presents The Flow of Water – A Captivating Exhibition by Michelle Drummond

Opa-locka’s Ten North Group proudly presents The Flow of Water, an immersive art exhibition exploring the beauty, power, and symbolism of water through the eyes of contemporary artist Michelle Drummond. Running from March 13 to May 28 at The ARC (Arts & Recreation Center) in Opa-locka, this exhibition showcases stunning sculptures that celebrate water as a source of life, inspiration, and transformation.

Water is a universal force that shapes our world, connecting cultures, ecosystems, and emotions. The Flow of Water invites visitors to reflect on its many forms and profound impact on art, society, and the environment. Through Drummond’s unique artistic lens, attendees will engage with this essential element from new perspectives, experiencing its fluidity, depth, and movement through intricate sculptural expressions.

The exhibition kicks off with an opening reception on Thursday, March 13, offering guests the first glimpse of Drummond’s thought-provoking works. Presented by Ten North Group, this event marks the launch of a visually compelling and conceptually rich showcase that underscores water’s role as both a tangible and symbolic force.

Join us in exploring this powerful element through the art of Michelle Drummond and discover how water continues to inspire, connect, and transform our world.

📍 The ARC (Arts & Recreation Center), Opa-locka
📅 Exhibition Dates: March 13 – May 28
🎟 Opening Reception: Thursday, March 13

The Flow of Water Michelle Drummond

Ten North Group (formerly OLCDC)

Mission To innovate an Arts program that is rooted in the reviving of one community (Opa-locka) with a global vision of advancing the African Diaspora experience and transforming communities.

Ten North Group fulfills its mission by improving access to health and wellness opportunities; supporting

Perez Art Museum PAMM
Pérez Art Museum Miami

Fountainhead Residency Open House: Session 2

The Fountainhead Residency
The Fountainhead Residency

Fountainhead Residency Open House: Session 2

The Fountainhead Residency: 690 Northeast 56th Street Miami, FL 33137

Join us for a casual open house to meet Session 2’s resident artists Marcos Castro, Naima Green and Portia Munson. Our Open House is an opportunity to learn about their lives and inspirations and experience their work.

Members’ Open House / 6:00-7:00pm Become a member to gain early access and get a First Look at available works.

Public Open House / 7:00-8:30pm

Fountainhead is the oldest live/work residency in Miami, welcoming 24 national and international artists to the city each year. Every month, Fountainhead welcomes the public into the residency to meet the artists and learn about their work and experience in Miami. To learn more, visit fountainheadarts.org.

Fountainhead elevates the voices, visibility, and value of artists in our society and makes their work accessible in a welcome and inclusive environment.

Perez Art Museum PAMM
Pérez Art Museum Miami

Alain Godon Spotlight at Carousel Fine Art: A Celebration of Whimsy, Architecture, and Color

Alain Godon Spotlight at Carousel Fine Art
Alain Godon Spotlight at Carousel Fine Art

Whimsical Art Exhibition by French Pop Artist Alain Godon

Carousel Fine Art, in collaboration with Markowicz Fine Art, is proud to present Alain Godon Spotlight, an exclusive exhibition showcasing the work of internationally acclaimed French pop artist Alain Godon. Running from March 13 to April 8, 2025, this exhibition highlights Godon’s masterful ability to blend humor, deconstruction, and architectural inspiration into whimsical, colorful compositions.

Opening Night & Special Giveaway
To mark this special occasion, Carousel Fine Art will host an opening reception on March 13 from 6–9 PM, where guests will have the opportunity to engage with Godon’s playful yet technically sophisticated works. The first 50 guests will receive a signed Alain Godon poster, making this an unmissable event for collectors, art lovers, and enthusiasts of contemporary pop art.

A Unique Artistic Vision
Born in Bourges, France, Alain Godon has garnered international recognition for his distinctive, childlike style that brings cityscapes and everyday scenes to life. His work, which spans oil painting, bronze sculpture, and his innovative QT (“Cutie”) technique, is a testament to his ability to weave intricate, layered narratives into visually striking and immersive compositions.

Blurring the lines between fantasy and reality, Godon transforms architectural landscapes into dreamlike worlds, where familiar landmarks are reimagined with humor, nostalgia, and vibrant energy. His work has been exhibited worldwide, including in New York, Miami, Los Angeles, Aspen, Amsterdam, Bali, and the prestigious 2001 French National Assembly.

Experience Godon’s World at Carousel Fine Art
From the intricate cut-paper layers of QT (“Cutie”) to the textured brilliance of his paintings and sculptures, Alain Godon Spotlight invites viewers into an imaginative universe that celebrates creativity, storytelling, and artistic innovation.

Join us at Carousel Fine Art for an extraordinary journey through the whimsical, architectural, and humorous world of Alain Godon.

For more information, visit: carouselartgroup.com

RSVP here

Event Details:
📍 Carousel Fine Art – Located in Miami Ironside
📅 Exhibition Dates: March 13 – April 8, 2025
🎟 Opening Reception: March 13, 6-9 PM
🎁 First 50 guests receive a signed Alain Godon poster!

For more information, please contact:
📞 (786) 475-9124
📍 7620 NE 4th Ct, Miami, FL 33138

Carousel Fine Art prides itself on representing both emerging and established artists from around the world. Our collection of global contemporary art styles, includes styles such as Street Art, Modern Art, and Pop Art.

Our art gallery’s mission is to help art collectors discover pieces they will love and treasure for years to come. We aim to connect collectors of all levels with fine art that speaks to them.

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