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Original on Canson cold pressed paper. 22.8x30.5cm acrylic/ink. (seals of rememberance) Signed and sealed.

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Comment by Pedro Pacheco on October 2, 2011 at 8:57pm

is a work of vibrant composition with  homogeneous elements that  articulates the surface.
A procedure that can remind   the viewer of the  works of Picasso and Braque from 1910-1911.
It is through these vibrations showing the sensory intensity expressed in the
relationship between composition structures and signs of abstract content. That sensory intensity that we experience that exists in everyday situations.

Good Job, Roberto! 

Comment by Resident Curator on September 28, 2011 at 8:50pm

Curator’s Comments:


While I’m not familiar with the cultural milieu of these seals, they appear as printers chop marks, or individually inscribed signatures.  There is a nostalgic implication of lost or forgotten identity in their significant grouping, and the almost negating drips of dark paint across their delicate surface. I’m especially attracted to this work because it appears to cross-contextualize eastern and western sensibilities.  The calligraphic lines and characters overlap in a way that crowds the picture plane, layering the “identities” until they read as a singular mass or pattern.  There is little room to breathe within the piece, but the irregular constellation of imagery defeats any imposed system such as a grid.  This seems to be a decidedly western approach to the space- forfeiting the controlled visual rest of asymmetrical balance to a denser layering of color and shape. I also find myself trying to match up corresponding similarities to the individual stamps.  Without being able to read them as actual text they become a textural or tactile field of expressive marks.  I find a beautiful sadness to this piece.  The title supports the somber if not tragic mood- tribute as remembrance implies they could be forgotten. 

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