Obras 2004 -2006
Alternating depths Arturo"s Recent executions Carrión puts in evidence interesting inquiries. It is appreciated a change noun and a reorientation of their focuses, being observed new emphasis and suggestive profundizaciones. It can be exposed that of a schematic registration and of influence constructivista, now he/she feels a pictorial recreation that originates the conjugation of detached spaces, matéricos and texturados, as well as the annexation of certain grafismos and objects textualiza1
Alternating depths
Arturo"s Recent executions Carrión puts in evidence interesting inquiries. It is appreciated a change noun and a reorientation of their focuses, being observed new emphasis and suggestive profundizaciones. It can be exposed that of a schematic registration and of influence constructivista, now he/she feels a pictorial recreation that originates the conjugation of detached spaces, matéricos and texturados, as well as the annexation of certain grafismos and objects textualizados, as focuses index them and objetivados.
At first sight, the works challenge for their apparent and deliberate indetermination. The reading iniciatica of the same ones, challenges its boarding: the dispositions and sensualities of the spaces proposed by lines and intense movements, are too powerful as to locate them in a complementary function, but equally the details of relating objetual are very explicit as to impede a substantial approach.
Undeniably, in spite of the proportions of one and another component, it could not be spoken of only and equal in Arturo"s plastic language Carrión.
The wide spaces are affirmed on the other hand as consequence of the reflection that comes from the objects, texts and retículas and windows, these they acquire their presence starting from the plurals and expansible surfaces proposed by the artist. This plastic enigma is sketched in spite of the apparent contrasts among the two mentioned components. In consequence, the nature of the spaces doesn"t report the logical context for utilitarian common objects, neither it stops structural scaffoldings of lines of architectural resonances, these they emerge visually in a space that is not its natural enclosure. For it, they float without weight, contiguous, in invisible supports flowing in the empty space, challenging the imagination and stimulating the spectator"s uncertainty. A more immediate approach induces us to point out that the enigmatic sense and the character dislocador of these elaborations increase because the chromatic component and the plane texturados dominate the support to summon the tact and to stimulate demanding perceptive requirements. Arturo"s technical domain Carrión allows him to frolic with the transparency, the lines, the drippings, planes, lineal structures and shades, all that which originates strange visions. It could be said that a conjugation of spaces is achieved that make that each plane emerja of another to suggest areas and atmospheres in intense interaction. Carrión assumes a certain focus lúdico with the objects and the planes. It is difficult to stop to appreciate a murrain quota and irony in this relating. The nostalgia is related with the evocation, the memories and the biographical associations that always have the apparels. On the other hand, the irony is raised by the subtlety with which these pieces bear such a delicate atmosphere and so far from their natural environments. In other cases, they are synthesized to predict their unbribable print and their unyielding challenge disposition, appeal and warning. In the same way, their presences would be able to incite certain violation impression and of aggression of the space. In conclusion, the interpretations and explorations are so many that it is imposed to give space to a reflection. "The depth is to hide it. Where? In the surface."
Arturo"s Recent executions Carrión puts in evidence interesting inquiries. It is appreciated a change noun and a reorientation of their focuses, being observed new emphasis and suggestive profundizaciones. It can be exposed that of a schematic registration and of influence constructivista, now he/she feels a pictorial recreation that originates the conjugation of detached spaces, matéricos and texturados, as well as the annexation of certain grafismos and objects textualizados, as focuses index them and objetivados.
At first sight, the works challenge for their apparent and deliberate indetermination. The reading iniciatica of the same ones, challenges its boarding: the dispositions and sensualities of the spaces proposed by lines and intense movements, are too powerful as to locate them in a complementary function, but equally the details of relating objetual are very explicit as to impede a substantial approach.
Undeniably, in spite of the proportions of one and another component, it could not be spoken of only and equal in Arturo"s plastic language Carrión.
The wide spaces are affirmed on the other hand as consequence of the reflection that comes from the objects, texts and retículas and windows, these they acquire their presence starting from the plurals and expansible surfaces proposed by the artist. This plastic enigma is sketched in spite of the apparent contrasts among the two mentioned components. In consequence, the nature of the spaces doesn"t report the logical context for utilitarian common objects, neither it stops structural scaffoldings of lines of architectural resonances, these they emerge visually in a space that is not its natural enclosure. For it, they float without weight, contiguous, in invisible supports flowing in the empty space, challenging the imagination and stimulating the spectator"s uncertainty. A more immediate approach induces us to point out that the enigmatic sense and the character dislocador of these elaborations increase because the chromatic component and the plane texturados dominate the support to summon the tact and to stimulate demanding perceptive requirements. Arturo"s technical domain Carrión allows him to frolic with the transparency, the lines, the drippings, planes, lineal structures and shades, all that which originates strange visions. It could be said that a conjugation of spaces is achieved that make that each plane emerja of another to suggest areas and atmospheres in intense interaction. Carrión assumes a certain focus lúdico with the objects and the planes. It is difficult to stop to appreciate a murrain quota and irony in this relating. The nostalgia is related with the evocation, the memories and the biographical associations that always have the apparels. On the other hand, the irony is raised by the subtlety with which these pieces bear such a delicate atmosphere and so far from their natural environments. In other cases, they are synthesized to predict their unbribable print and their unyielding challenge disposition, appeal and warning. In the same way, their presences would be able to incite certain violation impression and of aggression of the space. In conclusion, the interpretations and explorations are so many that it is imposed to give space to a reflection. "The depth is to hide it. Where? In the surface."
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