Lima, Peru - 1975

JPEG - 158 kb
Moche Pottery
Mixed media on canvas, 85 x 201 cm.
Moche Pottery Adela Silverwork and Glass Mercedes Benz Santolite Saints

Graduated from the Escuela Superior de Arte Corriente Alterna (2000), as well as pursuing studies at the School of Art at Universidad Nacional Mayor de San Marcos. He has held five solo shows: Iconos (Icons) (Lima, 2004); Espacios Comunes (Common Spaces) (Lima, 2005); Litoral (Coastline), in Santa Cruz de la Sierra and La Paz, Bolivia (2007);and Barroco frío (Cold Baroque) at Galería Enlace (Lima, 2009). In 2008, his work traveled between Berlin, Germany; Prague, Czech Republic; and Warsaw, Poland, as part of the exhibition “Develaciones – Tendencias. Tres artistas peruanos” (“Unveilings – Trends: Three Peruvian Artists”).He has participated as a guest artist in the Eighth Sharjah Biennale (2007), United Arab Emirates; at the ITCA Triennalein Prague, Czech Republic (2008); and in major fairs such as ArteBA 2007 and 2008, ArtBO 2007, and ArteAmericas 2006 and 2007. Among the distinctions his work has won him are: Phillips Third Prize for Young Artists (1999); first prize at the VII Salón de Dibujo at the ICPNA (2002); finalist in the Second Young Artists’ Contest of the Municipalidadde Miraflores (2003); and the Fourth Passport for an Artist Visual Arts Contest of the French Embassy in Peru (2003). “He has developed an extensive, carefully-chosen, and luminous series of anonymous and familiar people, rendering the urban landscape perfect. Figures captured at a random instant, with sincere expressions, without posing, eloquent faces and gazes. It is faces and bodies that he has been most attracted to, perhaps because through them, he has sought to capture that story that always eludes us. Without a doubt, the artist owes a great deal to photography and its possibilities, but his is a realist transcription, through skilled and perfect drawings, that speak of his interest in the other, in those lives that are always alien to us, with which he feels solidarity, somehow entrapping them. His is not a voyeuristic concealment, but rather an open and clear gaze, proposing testimony over hidden lucubration (…).” (Élida Román, 2012)