Omar Rodríguez - Graham Colibrí azul
TITLE_NAME :
Ritmo Doble
23/11/2023 - 20/01/2024
Max Estrella
His work begins with the use of recognizable images from historic Renaissance paintings as an armature to place marks. In a carefully planned process, Rodriguez-Graham digitally modifies these historic paintings to an unrecognizable abstraction. These digital sketches are then translated into actual large-format paintings. As with the calculated approach of Renaissance painters, Rodriguez-Graham methodically assigns different colors, textures and techniques to specific areas, slowly constructing each plane. Even the shape and scale of canvases are carefully considered. As he builds the painting, Rodriguez-Graham welcomes moments of improvisation, experimenting with different ways of applying oil paint in each passage of the picture. This is his way of compressing and tackling various moments of art history.
By transforming figurative painting into abstraction, Rodríguez-Graham retains diverse references from the sources of the image. He then overlays them like semi-transparent layers, creating overlapping fields reminiscent of early photomontages and cubist paintings that experimented with capturing movement or an object shown from different perspectives simultaneously within a static image. The time of conception, the time of construction, and the time of perception are considered in his methodical approach. In other words, this is his way of compressing time and capturing the image creation process with the same gesture.
23/11/2023 - 20/01/2024
Max Estrella
His work begins with the use of recognizable images from historic Renaissance paintings as an armature to place marks. In a carefully planned process, Rodriguez-Graham digitally modifies these historic paintings to an unrecognizable abstraction. These digital sketches are then translated into actual large-format paintings. As with the calculated approach of Renaissance painters, Rodriguez-Graham methodically assigns different colors, textures and techniques to specific areas, slowly constructing each plane. Even the shape and scale of canvases are carefully considered. As he builds the painting, Rodriguez-Graham welcomes moments of improvisation, experimenting with different ways of applying oil paint in each passage of the picture. This is his way of compressing and tackling various moments of art history.
By transforming figurative painting into abstraction, Rodríguez-Graham retains diverse references from the sources of the image. He then overlays them like semi-transparent layers, creating overlapping fields reminiscent of early photomontages and cubist paintings that experimented with capturing movement or an object shown from different perspectives simultaneously within a static image. The time of conception, the time of construction, and the time of perception are considered in his methodical approach. In other words, this is his way of compressing time and capturing the image creation process with the same gesture.