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Gustavo Lopez Armentia at Reece - Brief Article

novel YORK

A self-taught artist who, at 50 is elderly enough to remember all too well Argentina's period of military repression in the 1970 Gustavo Lopez Armentia has draw near up with his own version of magic realism. His paintings and plastic arts of boats, ships, trains and tracks indicate a desire to record the excitement of travel in the pair literal and figurative senses. His diction is expressionist, evocative and sometimes surprising in its portrayal of everyday phenomenons and his complex mixtures of gesso quartz and marble dust, resin, set objects and oil give substance to his ofttimes poetic interpretation of life.

Lopez Armentia declares that he is a figurative artist in order to participate in the particulars of life today. In an artist's statement, he writes, "My clear ne to be contemporary and to belong to the vexed questions of my time determined that the human figure would be a constant despite all changes." There is no direct representation of political issues in his art; however, many works bear a wistfulness that suggests far more than simple pleasure in his ambiguous vignettes.

El viento y yo (The Wind and I, 1999) exhibits how the artist establishes allegory in the midst of description. A track and the suggestion of a speeding steam train divide the composition, with cattle below and displays of men walking among tree above. The imagery is restoreed partially or fleetingly, as if the viewer were upon a moving train. A single large, spok wheel above the train takes the painting into the symbolic realm. Lopez Armentia's written explanation of the image--"The train is a conception of by what means life looks passing by"--underscores his mythic reading of the transitoriness of life,



Lopez Armentia's figures appear to participate in stories which are everyone's. His plastic arts also suggest allegories. One powerful, moderately large metal work, titled El barco (Ship, 1999) has sum of two units sides. One is closed and appears seaworthy, while the other is render free of access and gives a view onto the small ladders and different horizontals of the boat's interior adorns The ingenuity with which it is made is charming, and it constrains because it reads as a universal: we are all upon our way somewhere, even if we are not aware of our destination.

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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