Skip to main content

Eugenio Espinoza: Master of Venezolean Abstraction at Alejandra von Hartz Gallery

Eugenio Espinoza. Hablando con la pared, 2008.
photo Juan Raul Hoyo.
courtesy Alejandra von Hartz Gallery
Eugenio Espinoza. Hablando con la pared, 2008. photo Juan Raul Hoyo. courtesy Alejandra von Hartz Gallery

 Hablando con la pared. Eugenio Espinoza, 2008. Mixed media installation. Wall paint, brackets
Photo Juan Raul Hoyo. Courtesy Alejandra von Hartz Gallery

Hablando con la pared, (Talking to the wall), is the title of the solo show now opened at the Alejandra von Hartz Gallery, located in the Wynwood District, during the month of May. This evocative exhibition recompiles a selection of Espinoza’s artworks produced between 2008 and so far in 2009.

In the first room, the viewer is compelled by four mixed media installations that use the pictorial space in a so unusual way. Eugenio Espinoza paints directly on the wall surfaces using geometric matrices that overlap one over another. Underside lie useless brackets struggle to sustain the weight of the vacuum. Because this is one of the essential components of this exhibition: the vacuum, the absence, the impossibility. The title of the exhibit emphasizes this idea as well as the distribution in the space that laves lot of air from one work to another.

The viewer is invited to imagine the missing parts rebuilding the stories them. In this sense, Espinoza appropriates the space as sort of negative space. That hidden, neglected space is emphasized, brought to the foreground, and we have the weird sensation of a voyeur, searching for hidden stories.

From a conceptual standpoint, dominates the use of pure geometric forms carrying themselves enough meaning. For Espinoza, the medium chosen, the color and distribution in space are the elements of a very peculiar narrative, where the use of materials of the daily routine such as rope, wood, or brackets become the pillars of a creative process where the construction-deconstruction process go hand in hand.

In the second room of the gallery, the viewer has access to some examples of Espinoza’s sculptural works, which are dominated by a monochrome taste, Espinoza’s structural, the pure square the grid. However, the artist introduces other essential component: the anamorphosis. This Anamorphosis reclaims from the spectator a conceptual act as the only effective way to the final reconstruction.

It seems like all the rational desire leading this artist is overwhelmed by a craving of negative deflection, an impulsive gesture, imposing an emotional component to his artwork and, sure, new interpretations. The grid squeezes, shrinks, folds, exhibits his inner deformation. As Lucio Fontana, Espinoza subverts the process of destruction to become it into a significant part of the creative process and the final meaning of his artwork.

Eugenio Espinoza is a master of abstraction. His working spectrum goes from the strictest rationalism to the freest expressionism. His works are always polysemic and symbolic. His work is already one imponderable in the history of contemporary Latin American art.