The artwork features a muted, almost monochromatic palette, with a predominance of grays and whites. The composition is minimalist, with a grid-like pattern of vertical and horizontal lines that create a sense of depth and texture. The brushstrokes are visible, lending a tactile quality to the piece. The subject matter is abstract, with no recognizable elements, inviting the viewer to interpret the artwork through its formal qualities. This work exemplifies the artist's exploration of the materiality of paint and the expressive potential of minimalist composition, reflecting the aesthetic principles of abstract expressionism. ...
Beltrán Obregón is a multidisciplinary artist who works across video, painting, photography and sculpture. Since the beginning of the 1990's Obregón has developed an experimental set of works that draw from particular artists and movements from the 20th century European and Latin-American avantgarde. The artist cites Francis Picabia, Italian Futurism and Kinetic Art as having a particularly strong influence upon his practice. Obregón has an ongoing interest in industrial history, seeking to trace the ever-shifting relationship between humanity and machinery. Past projects have seen him tackle international relations as well as critically engaging with formal art history. His painted series Apollo (2000) for example recasts the sprawling machinery within rockets as art historical subjects, and his 2009 project Committee for the Appreciation of Colour and Form brought a playful perspective to Albers’ canonized theories of colour. Often combining audio visual components with his paintings or sculptures in the gallery space, Obregón creates unexpectedly discursive installations which draw on such a wide range of art historical, political and social threads. The artist now lives and works in Bogotá and is a part-time teacher at the Universidad de Los Andes. ...
Instituto de Vision is a Bogotá and New York based gallery for conceptual practices. Their mission is to investigate conceptual discourses that have been neglected by the official Latin American art canon. They have recovered important estates from the Latin American art of the mid century and continue to research the most enigmatic oeuvres of the region. Through a parallel program, they represent some of the most relevant contemporary practices from Colombia, Chile, North America, Venezuela, and others. Directed by three women, Instituto de Vision gives special attention to female voices, queer theories, environmental activism, the conflicts of migration, and other critical positions that challenge the established order. Using the international art scene as a platform, they are committed to give visibility and expand the work of artists that reveal critical realities and raise important questions for these contemporary subjects. ...
