ENLACE ARTE CONTEMPORÁNEO Gallery, in San Isidro, announces the opening of its third exhibition next Thursday, January 4. This is the twenty-second solo show by the noted Peruvian artist Jorge Vigil, titled In the Name of the Pencil. Jorge Vigil was born in Lima in 1963 and graduated in 1988 from the Escuela Nacional de Bellas Artes in Lima. He has lived in France since 1990, where he initially traveled on a scholarship from the French government to study at the Pau School of Communications. In 1992, he won Second Prize at the Salón Lefranc Bougeois, Southwest Region; the Cadena Prize, Villa Montauban, in 1994; and in 2000, the prize at the First Villa de Nay Festival, all in France. In this exhibition, viewers may observe ten works on canvas and eight in mixed techniques on paper, all recently completed in Paris. Special note should be made of the use of formats not seen before in his oeuvre, particularly the lengthwise formats, like that which appears, at first sight, to be a sequence of pages from a botanist’s guide, or the succession of sleeping faces, among others. “To mention Jorge Vigil’s gift for drawing is to repeat the obvious, since this is the first thing that will surprise the viewer when looking at his paintings. It is difficult to detach oneself from this immediate impression, outstanding as it is in the works at hand, given the richness of the linework, disjointed, omnipresent, seductive, and masterful, which seems to marginalize all other elements that might be taken into account. (…) Complicities, ambiguities, ironies, autobiographical traces and elements, testimonies as riddles: these are present in all of his paintings, in which his acid humor is a constant element. (…) With his necromantic art, Jorge Vigil evokes, with clear admiration, the old school of the Flemish masters, recycles the style, appropriates its methods, using his contemporary eye and his illustrator’s zeal to delight in painstaking reproduction and detail…” Élida Román “Jorge Vigil’s prolificness is such that one can only suspect what he would do if he were trapped in an empty room equipped only with pencils. We can imagine his drawings on the bare walls, each one interwoven with the next, linking allegories and ornamentations, in that inexhaustible chain of figures who literally surge from the tip of the charcoal, through which his imagined world descends, crackling, onto the canvas or paper. (…) Evoking medieval scales and narratives, Vigil works with the meticulousness of an illuminator of “Books of Hours” in an abbey scriptorium.” Manuel Munive.