Roberto Escobar Arango – artist – esculptor – Cali – Colombia – South America – earth planet.
Roberto’s new sculptures proposal, goes on in the atmosphere ludicrous that characterizes him in its previous productions. He presents works where the line is main character, using the copper profiled in cylindrical or prismatic sections, in which the chromatic accents in glass sprinkle of light the forms.
In occasions, it is a line that traces horizons as his traditional bicycles robots that seem already to take the trip toward any part, only taking illusions. It doesn’t care neither the starting point neither that of arrival.
The interest is the colorful transparency of the movement. Other times, the movement is in the air. You figure hanging that in a game of balances and imbalances alert the observer with the infinite possibility of compositions that surprises to everybody with different forms, and it catches the observer in the game of deciphering the secret codes maybe manifested. The vegetable nature is also interpreted by Roberto, lifting trees that deny the organic curve, going to the part of our look that only perceives the quadrate, as preventing us that it is not only reality what we see, but that we perceive.
But the circle also enters in the game. They arise small gardens that catch the cosmos, then crossing them for that indefatigable traveling bicycle that with their contrasted cycles, it conforms a rhythm of repetitions with petals that connect the solar disk, to conform the most similar thing to a family scene. Another repertoire in ways where the game consists on offering the curves Venus also opens up, in a chaotic movement, challenging the observer to recompose the figure, activating the patterns of the woman’s perception, with those that each who it builds its feminine personal image of the eternal one, associating it with the floral symbol, constant in all the cultures.
Games, lines, lights and movement, they are the arguments with those that the artist rushes to cause the search of our you avoid looks, so many times distracted in the premeditated and interested figure with which the marketing strategies invade our daily visual space.
