February 20 - April 18, 2014
Amundarain's work stems from two well assented platforms in Venezuela's artistic landscape: the tradition of abstract geometry on one side, and the reflections about the city of Caracas as a topographic landscape, on the other.
Paul Amundarain, Anarchic Skin, 2012, Aluminum, paint, wood, acrylic paint, 45.6 x 67 in. Photography Oriol Tarridas
His largest series of assemblages titled Urban skins and Anarchical skins are a visual synthesis of what Caracas looks like from above, intending to analyze and reflect upon the social circumstances and irrationality that prevail in this chaotic urban development. Amundarain departs from the overhead shots taken from the city's barrios (slums) as a model, and dissects its landscape formed by the geometric shapes of the roofs of millions of ranchos (favelas). He uses Aluminum triangle and square blade-alike shapes that overlap the bi-dimensional surface and produces volumetric assemblages that suggest not only the violence, but also the unruly and massive informal habitable solutions of poverty
In other bodies of work, Amundarain is reflecting upon Venezuela's conflictive street violence to generate paintings, sculptures and installations, thinking about the unfortunate popular culture icons of violence in the context of their own reality, in which the whole city becomes a crime scene at large. It is quite common in today's Caracas to find its urban landscape scarred with physical evidences of this violence, such as the traces left from bullets in street signs, protection barriers on roads, and damaged infrastructure that present vestiges of thuggery. In his series Impact, Amundarain perforates aluminum painted gold surfaces with real bullets, or as in Formal Subtraction where he removes highway safety barriers that have been damaged by car crashes or bullets, and alters them into sculptures, not before intervening them with paint or chroming their surfaces. With his work, Amundarain is commenting about the social scenario of a system that has progressively fallen on hard times, using a visual strategy that pertains to VenezuelaÂ´s rooted art historiography within the disciplinary boundaries of geometric abstraction.
Paul Amundarain, Anarchic Skin II, 2013, Aluminum, paint, wood, acrylic paint, 47.2 in. diameter. Photography Oriol Tarridas
Born in Caracas in 1985, Paul Amundarain began studying Architecture, but soon became interested in producing art, and instead pursued different design and sculpture workshops where he could develop his creative impulse. Has exhibited largely in Maracaibo and Caracas in collective shows and local art fairs, and has had four solo exhibitions in Venezuela, in Viloria Blanco Gallery in Maracaibo, and Parenthesis Gallery in Caracas. Paul Amundarain lives and works between Caracas and Miami. Apropriation and fragments from the catalogue's essay and texts by Amalia Caputo.
Paul Amundarain, Impact (detail), 2011, 39 x 39 inches (100 x 100 cm), aluminum, Paint, bullet impact, Photography Reinaldo Odreman
About Art Nouveau Gallery
Art Nouveau Galeria was founded in Maracaibo, Venezuela in 1987 by Elizabeth Hazim de Castillo and in 2010 she opened a space in Wynwood, Miami, known as Art Nouveau Gallery with her daughter in law and partner Georgina Chumaceiro. The gallery features modern and contemporary art focused on the geometric abstraction art, widely explored in Latin America, and ranges from emerging and mid-career artists to major historical art figures such as Cruz-Diez, Jesus Rafael Soto, Julio Le Parc and Rogelio Polesello, among others.
Art Nouveau Gallery Miami, apart from a strong secondary market, represents highly credentialed Latin American Geometric Abstraction artists such as Rafael Barrios, Joao Galvao, Alberto Cavalieri, Paul Amundarain and Abel Ventoso.