Durban Segnini Gallery
cordially invites you
to the opening reception of

SEGUÍ

In the presence of the artist
Friday Nov. 22nd, 7 – 10 pm
Catalogue Essay written by Ana María Escallon.
Navigational Chart


3072 SW 38thAve.
Miami, Fl 33146

gallery@durbansegnini.com
www.durbansegnini.com

logo Durban Segnini grey
16 - Antonio Seguí, Gente Alrededor del Monumento a Cornel Wilde, 2012, Acrylique sur toile, 200 x 200 cm./78.7 x 78.7 in.
16 – Antonio Seguí, Gente Alrededor del Monumento a Cornel Wilde, 2012, Acrylique sur toile, 200 x 200 cm./78.7 x 78.7 in.

Seguí

November 22, 2013 – February 15, 2014

Urban man

Antonio Seguí, with his works suspended in the imagination, paints figures that are scattered about and have no spatial destination. But the verb is ‘to be,’ to be human, human being, a verb that drowns in an uncertain definition because it has too many of them.
As a second round, Antonio Seguí’s work is marked by the lure of international Pop. The artist invents his original version with biting irony and interprets societies from his own shore. At the outset, he uses components that come from an anti-academic proposition: to assimilate photography into the painting and, as the avant-garde, to involve spaces in the composition and to work on the conceptual details beyond the representational intention that persists when interpreting his work.

 

 Antonio Seguí, Antes Supieron Comunicar, 2013, acrylique sur toile, 146 x 114 cm. / 57.4 x 44.8 in.
Antonio Seguí, Antes Supieron Comunicar, 2013, acrylique sur toile, 146 x 114 cm. / 57.4 x 44.8 in.

Words are another form of drawing. He constructs them and deconstructs them in multiple pictorial spaces. He assembles and dismantles the figure and continues with social topics in group portraits.
Almost all of Antonio Seguí’s men are urban men. They have always been, even when some of them are there only as landscape. Since the time he painted the series “Retratos de Familia” in the late 1970s, he evidenced an interest on the flat surface. “ Seguí commented in an interview with Woulter Kotte in 1971: « I used pictures and painted over them to define a form of expression that pertained, it seems to me, to distance (distance: taking conscience) in front of the idea I had in my youth of the artistic phenomenon, Seguí retook engraving to reflect on pre-established social values of middle class « happy families,” with a television on board as a common sophism that answers the contiguous law where the family dis- tracts itself on Sundays at the beach under the sun.

 

 Antonio Seguí,Relato Inconcluso, 2013, acrylique sur toile, 200 x 200 cm./78.7 x 78.7 in.
Antonio Seguí,Relato Inconcluso, 2013, acrylique sur toile, 200 x 200 cm./78.7 x 78.7 in.

Men with synthetic anatomies dressed normally and wearing a hat, spelling a period of smarmed-down hairdos, ties that are an extension of their bodies, bow ties that are a meeting point between the head and the rest of the body. A fundamental rule of the well-dressed per- son does not go missing: socks with elastics. Urban men, figures constantly moving join together, with one figure extending into the next. Failed meetings are part of his rhetoric, individual loneliness that drowns in a cement well, or someone suffocating who sneaks his head out the window, or the cripple that walks on wheels. Body fragments that spin in space, the same way they scatter into the world, these wanderers with no destination.
Cruelty is without a doubt one of his themes. The underworld of ordinary vengeance, of hidden glances, of judging the one who points or is pointed at, the skull in a still life that symbolizes a pictorial religious discourse on the venalities of the world.
Antonio Seguí’s representational art, unique, has evolved. An invincible and splendid body of work with a destination, because Seguí asserts each night that: I will create a work of art tomorrow.

Apropriation and fragments from the catalogue’s essay Navigational Chart by Ana María Escallon.


About Durban Segnini Gallery

Its present director and owner Cesar Segnini founded Durban Segnini Gallery in Caracas, Venezuela in 1970. The gallery specializes in contemporary painting and sculpture with particular emphasis in artists who have worked with abstract expressionism, abstraction, constructivism, geometric and kinetic art. Simultaneously, the Gallery strives to promote and diffuse new artistic values as well as the historical vanguards that have influenced them. Since 1992 exhibitions are open to the public all year round in their galleries in Miami, Florida, which includes the Coral Gables gallery in the border of the city of Miami and a new project in the Wynwood Arts District, an area where a group of major international galleries have concentrated. Worldwide, Durban Segnini Gallery is known for its expertise in such areas as the integration of artworks to architectural spaces as well as for its customized consultant services to private collections.


logo Durban Segnini grey 3072 SW 38th Ave.
Miami, Fl 33146
305 774 7740
Hours: Mon – Fri: 9 – 5; Sat 10 – 4
gallery@durbansegnini.com
www.durbansegnini.com

 

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