Carlos Agudelo – Colombia
My attraction for abstract art was immediate when I had the opportunity to appreciate the works of Kandinsky, Mondrian and Paul Klee for the first time. The absence of figurative referents left all the weight of the work to the juice of the forms and proportions that generated evocations based on the search for harmony through lines and color. The pure abstractionism of my work consists of the combination of lines, spaces, colors, contrasts and forms, within an unconditional search for harmony based fundamentally on the sense of proportion, as in music. The work is based on rigorous and clean drawing. This creates the spaces that are filled with the basic colors of the chromatic pentagram: primary, secondary, black, and an implicit white in the background that represents the space. The magic is in the careful detail, in the intersections and the contrasts that invite the viewer to stay. Nothing is left to chance. Everything moves. Like music, my work seeks evocation, being abstract suggests things without naming them. My work invites you to penetrate it from your inner being, where it makes sense.
My work bets on the inner primary sense that human beings have to perceive beauty, without going through language as in music. The difference is that in my work everything is there, it is simultaneous, because it seeks to dispense with time, everything vibrates and sounds and the viewer is the instrument that creates music.
At the age of 21 years and spontaneously began to draw. His first formal studies of art took place in the School of Art of the District of Bogotá, around 1973.
His attraction to abstract art was immediate when he could appreciate the work of Kandinski, Mondrian and Paul Klee. The absence of figurative referents left all the weight of the work to the play of forms and proportions that generated evocations based on the search for harmony through lines and color.
He never abandoned abstraction or the search for harmony as a way of claiming the essential role of beauty in art. He made sporadic exhibitions, the first in the Gallery of the Fundación Giberto Alzate Avendaño in Bogotá, at the beginning of the 70s.
During his stay in New York between 1979 and 1995 he participated in several group exhibitions, including the Cayman Gallery and the East Harlem Neighborhood Museum. In this city the work was enriched by the unbridled urban landscape and music, especially jazz.
On his return to Colombia, he exhibited at the Central Library of the University of Antioquia, in August 2000 and at the Neural Pinacoteca of Fondo Garantías de Antioquia in September 2005, both located in Medellín, Colombia. Until then he had almost always painted acrylic on paper. From 2013 he began to
experiment with drawing and digital painting, taking the decision to paint all his work again, from the originals, drawings, sketches, unfinished works and photographs of his works, using programs such as Adobe Illustrator In 2016 he exhibited fourteen works stamped on canvas under the title Baroque
Abstract, the evocative harmony of color, in Kladi Caffe, Medellin, Colombia. Between February and April 2017, he made an individual exhibition titled The Music of color, large format printed digitally on synthetic canvas, Central Library of the Universidad Pontificia Bolivariana in Medellín.
In July of this year a new series of completely original digital painting began, as well as a series of minimalist miniatures in acrylic on paper.
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