Discover the contemporary work of Arturo Carrión Farías
ARTURO CARRIÓN FARIAS
Multimedia Artist / Photographer / Writer / Film Director - Venezuelan/Spanish
1953, born à Maturín Edo. Monagas - Venezuela - Currently residing in Spain
1976, Graduated from from Cristóbal Rojas School of Audiovisual Arts, Caracas, / Graduated from the Cristóbal Rojas School of Audiovisual Arts, Caracas, in artistic training studies with mentions in painting and sculpture. / 1975 Body Expression - Ateneo de Caracas / 1975 Light, vision and color - Venezuelan Institute of Scientific Research and Cristóbal Rojas School of Visual Arts / 1976 History of Venezuelan painting Zuliene - Université Central Venezuela / 1981 Audiovisual Communication I and II, University of Venezuela Simón Bolívar
ADDITIONAL ACTIVITIES
It is currently dedicated to à his plastic work, he spenté 24 years old (1973 -1997) sharing his activity professional with teaching as a teacher of drawing and painting, sculpture, graphics, graphic arts, airbrushing, history of contemporary art; in the following Venezuelan institutions:
Neumann Design Institute / E.A.V. from Caracas, Cristóbal Rojas / Atelier de Pintores /
Villasmil Design Institute in León / Université Simón Bolívar.
Centro GraficActual (Director-Founder). - 1984 - 1995/
Graphic designer - from 1975 to our days
Director of television cartoons - 1981 - 1985
Audiovisual/TV design. Educational - UMAV - Universidad Simón Bolívar - 1981-1985
1994- Experimental works in super eight cinema - 1978 - 1985
Photographer / Filmmaker - from 1980 to today
Creator - Founder of the Habit/arte project of Venezuela - 1996, he is currently
President of the Habit/arte foundation of Venezuela
Image consultant for Fundarte projects -1996/97.
Director - Curator of the ARTSIL gallery - La Coruña - period 2002 - 2007.
Creator - Founder of VANproject, a project for the dissemination and promotion of contemporary Venezuelan art “ Venezuela Art Notebook », from 2009 to today www.artnoteven.blogspot.com
Creator - Founder - Producer - Editor of the Digital Magazine ARTCLUB magazine from October 2013 to our days www.issuu.com/artclub.magazine
Video producer, editor and director - documentaries - channel: ArturoCarrión https://www.youtube.com/arturocarrion
In 1997 he moved to à live in Europe with stays abroad : New York, London, Paris, Salzburg, Nuremberg, Berlin, Munich, Barcelona, Madrid, Porto, Lisbon, Santiago de Compostela. He currently resides in Santiago de Compostela - Spain
-Some publications.
1ª Independent Artists Fair in Europe - EURO ART - 2001 - Barcelona, Spain (Catalogue)
Artists for the museum of tomorrow - Ediciones Equateur 21 - Girona - Catalonia (Book)
Artifacto- Latin American art magazine- (Interview)
Construarte- Architecture Magazine - Interview
ARTCLUB magazine - biography and interviews - https://www.issuu.com/artclub.magazine
International Connections - Magazine - https://issuu.com/conexionesinternacional.com/docs/conexiones_web.__182rejado?issuu_product=document_page&issuu_context=action&issuu_cta=save_publication
MAGAZINE NAGARI- https://www.nagarimagazine.com/una-estetica-desde-los-atavismos-obra-plastica-de-arturo-carrion/
Here Venezuela- Magazine of Venezuela in Spain- (Interview)
Newspaper interviews: El Nacional, El Universal, Ultimas Noticias, El Mundo, El Diario de Caracas, El Correo Gallego, La Voz de Galicia, Daily Journal, Washington Post.
Interviews television: Radio Caracas Televison (RCTV), Venevisión, Portraits, Sintesis (Canal 5), Televisión de Galicia (La Entrevista)
BOOKS
Alternative Chronicles (Asynchronous Stories), Book of Short Stories - https://www.amazon.com/author/arturocarrion www.amazon.com
ArturoCarrión, The constructive spirit - Biographical book - https://www.amazon.com/author/arturocarrion www.amazon.com
Memories of a resilient person - Novel by ArturoCarrión - https://www.amazon.com/author/arturocarrion www.amazon.com
The constructive spirit
As revealing as this ascendancy is the permanence in all great cultures of constructivist processes, part of common life, in media as different as tapestry, l' architecture, ceramics and painting. The peoples of Africa make particularly vigorous use of abstract definition, for example in the wall decoration of facades, in sequences that are clearly coherent and intended to serve their purpose. a festive or exhilarating goal. Auguste Herbin (France, 1882/1960) took full advantage of this dynamism and thus captured its vitalist meaning, more than the formalist meaning of other European experiences. The work of the Venezuelan Arturo Carrión(Maturín, 1953) is part of the exploration of the abstract universe in two and three dimensions, with a guiding principle which starts, according to the text of an artist, from the principle according to which « art is enough himself » himself» and it has a realistic character to represent the vital synthesis that man seeks and raises as testimony to his action on earth.
We thus find an alternative position. The realism sought after by great pioneers likeNaum Gabò (1890/1977) which he formulated in his “realist manifesto” the need for to escape from “hieratic rhythms” and bring life to life art and true movement. Carrión benefits from the flexibility of of structure in the two-dimensional works, most of the time trying to rely on strong, contrasting color, causing an equally rhythmic reading. In works exhibited in space, the incorporation of color is a timely resource to accentuate the play of shapes and volumes; Without forgetting that it also benefits from the free and real movement of the parts. The work is a constructive program, in which the artist attempts to add the necessary chromatic and formal elements to create processes that reveal a condition of exaltation, a sort of celebration of the living and of one's own beauty.
Dr. Roberto Guevara
Art critic - National Director of Museums - Venezuela - March 1987
THE HUMAN VISUAL PLANE
In the 1950s, there appeared a device on the market. which they called "View Master", which produced the "miracle": Seeing it in 3D (3 dimensions), everyone was amazed. wonderful. With this optical invention, it was then cinema and television which were transformed. offered in 3D, with the small inconvenience that you had to wear glasses with color filters to take advantage of the three dimensions, uaigue. Recently, glasses have appeared that cover half of the face. face and contain digital technology to, from now on, see and enjoy three dimensions with incorporated sound. This way, the practice is overwhelming and everyone enjoys these visual experiences.
The human eye, morphologically, is designed to capture two dimensions, where intertwining the light which defines the color frequencies and the shapes of the objects observed, it is only designed to see at a glance. 180º and (focusing your brain's attention) Look, which indicates the middle of the circumference, therefore morphologically and literally “ We see a curved plane; towards its ends ». Why Why do we believe we see in three dimensions? The answer is simple, because we have a prodigious brain which, from its nascent development, begins to change. function in perfect synchronization with the other physiological senses: tactile, auditory, taste and olfactory; and we can add the intuitive one, which we see in three dimensions. We are used to it and think we really see in three dimensions. From the moment we are born, our brain is educated, based on on the five physiological senses that we contain in our body the birth ; This basic self-education is accompanied by external stimuli from our physical environment and our physical environment. From our adult peers who have unconsciously experienced the same process, will determine the developmental capacities to be continued. short term, the logical responses that define human behavior. The human brain is the most prepared and prodigious biological machine. Since life appeared on this planet that we call Earth, it has been able to create and regenerate itself by It has many aspects to achieve this; its survival, it conditions our actions from birth to death; extinction or death.
The human brain creates feelings based on the organic transmission it perceives through life. Based on sensory receptors, it is a processor of external stimuli and has the appropriate responses to them. each situation according to its maturity; or his cognitive level. The basic sense of vision, through the eye, transmits to the brain via the optic nerve all the information it perceives (See) to the brain so that it can analyze it as a whole and processes them immediately to provide answers. to the stimulus received via, in this case the eyes, receptor organs; physiological problems specific to this task.
The human body is ergonomic in its biological nature to respond to needs. its fundamental needs in its actions in any natural or artificial environment of existence, but like any other living organism, it has its limits which have been, over the course of time, compensated for ; through the development of their ability to adaptive brain training, deal with logical solutions in their permanent resolution of their vital environment.
We can say that the human brain is a processor of vital solutions that continually adapts to new times and new possibilities. their needs. The human brain created the means of transport for its transfer to any part of the physical world where he acts; There are many examples of how the human brain has acted to respond to these demands. its needs for “extensions” without exhausting yourself in the effort.
The human being is not capable of flying because his physical nature makes it impossible, I created the plane, various vehicles or vessels capable of carrying it on air flights, as well as on or under water. The endless wagons, carts, cars, trains and gadgets that allow you to travel overland to any location that meets your needs. your transportation and production needs. He invented writing, languages, printing tools, telephones, television and nbsp; computers to communicate with the rest of their peers without leaving their comfortable living space.
I create cybernetic machines or robots to create the industrial products and machines you need for your business. develop all types of mass production that cover the various needs that human beings need in their existence. So like any “expandable” module and necessary for the development of their biological senses.
The human eye, devoid of this first phase (See), the capture of three-dimensionality real physics, receives the order from the brain to detail (Look), then to process the captured images and ; have the answers to your questions each of these stimuli. The human brain has developed a process that we call «Steréopsis», it is in this phase where The creative action of the human being arises to obtain answers to our questions. these visual stimuli; I opt for the basic representation of the act of seeing. I created the concept of a two-dimensional plane for, through it, represent the three-dimensionality of ; «I invented perspective and the representation of volume based on mathematics, geometry and physical time, shapes, lights and shadows»; We have lived with this elementary formula for many centuries. Painters have learned and developed their skills. use these concepts to represent their existential realities and environments. This has not changed at all over the centuries, we continue to change. see and see We represent what we see or think in a two-dimensional way, because that is how we live. it's fashionable our visual physiological nature. We continue to look for see the true three-dimensionality of life in our existence and we have only been able to improve its representation in our lives. a subjective level thanks to equipment and instruments coupled with our visual organ (the eye) which produces the sensation of three-dimensionality. , where Psychological, cybernetic and digital factors come into play. When we see a cinema screen, a television screen, a photograph, our computer screen or a work of art, we enjoy the sensation of This three-dimensionality, we « let's feel and live it. as such and we ignore the reality. therefore, we are and continue to see everything on the two-dimensional plane.
The true three-dimensionality of life exists, for this we turn to the sense of touch or human physical movement (Time), only in this way we corroborate its existence. In order to appreciate the three-dimensionality of of a sculpture or any object, we must feel it in all its dimensions, move or move physically in order, in this action, to capture (like a camera) segments of this journey that our brain processes and responds to. couple in a single image and we experience it in three dimensions. Time and space, as dimensions, communicate and act in this action to provide the human being the subjective - virtual concept of three-dimensionality. Visual artists are appreciated by the public. like magicians for their ability. à interpret and represent the three-dimensionality of in the two-dimensional plane, for this they are based on the aforementioned formula «Perspective + shapes + light + shadows = virtual volume»
In all my pictorial work and in many cases sculptural, these are the factors or ingredients that I use to always pay a “Homage to the artist’ true three-dimensionality» à through the only means or concept that I have at hand, "Virtuality", whatever the philosophical conceptions that I propose in each series of works, both psychological and psychological. optics.
In this series of works entitled «Khromakinesis», which They are subdivided into “Tubular”, “Orbital», «Khromavolumes», «Levitable», « Spheroids» and “Entreplanos”, are based on the representation of volume, space and on the search for the optical movement of the viewer in a two-dimensional space as a recreational experience, offering the observer the energy of the subjective movement which produces the volumetric representation, supported by the shapes, light and shadows in this structured space. by the two dimensions...the length or width and the altitude or height where the image manifests.
When you walk down a street and see in your frontal vision than in the opposite direction A beautiful woman or a handsome man arrives and you have to wait to turn around to see her or see her as she is from behind, always remember that we see in two dimensions, If we saw in three dimensions, we would not need to turn around to see them; I would see them and appreciate them again. in unison, as a whole. Why did we invent the rearview mirror?
ArturoCarrión - multimedia artist 1974
