Open: Mon-Fri 10am-1.30pm & 3pm-8pm

Circuito Frida Kahlo 303 L-16, Hacienda de La Sierra, Garza García, N.L., 66278, Monterrey, Mexico
Open: Mon-Fri 10am-1.30pm & 3pm-8pm


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Aldo Chaparro: Lluvia

Colector Oriente, Monterrey

Artist: Aldo Chaparro


Installation Views

Installation image for Aldo Chaparro: Lluvia, at Colector Installation image for Aldo Chaparro: Lluvia, at Colector Installation image for Aldo Chaparro: Lluvia, at Colector Installation image for Aldo Chaparro: Lluvia, at Colector Installation image for Aldo Chaparro: Lluvia, at Colector

¿Who’s afraid of wild painting?
Lluvia does not only set forward Aldo Chaparro’s (Peru, 1965) first exhibition in Monterrey after a long hiatus; it is also the first time the artist displays one of his least known facets: the painter.

There are many possible narratives fit to describe this artist’s career. None of them linear, all of them marked by his experimentation with different mediums, the quest for new languages and the countless references where his passion for music, architecture, fashion, literature and distinct moments in art history, converge — let us not forget that in 2000 he founded Celeste, one of the most influential magazines in Mexico’s editorial scene, where a large number of his personal obsessions came to light. Nevertheless, the prominent common denominator between the distinct layers that constitute his work’s body, is sculpture.

This exhibition, paintings in its vast majority, signifies both for the artist and Colector gallery an entire declaration of principles. Chaparro has toyed with this format since the beginning of his career, but always from the sculptor’s perspective, with the proper strategies of an artist who develops in 3 dimensions and who seeks to remain in control of the bidimensional result of his product. Lluvia is the first time we see the artist diving headfirst into the subject as a painter. From his first canvas encounter, to the last.

¿Who’s afraid of wild painting?
In past decades it seemed as if the majority of contemporary artists fled painting as if it were the plague or Cuban trova. Artists did videos, installations, tautological explorations on language. In 2005, with The Triumph of Painting, Saatchi Gallery in London reminded us in a ridiculously media-oriented way, that painting, forgotten by the most hip galleries and institutions, had never lost its vigor. Painting has managed to regain its deserved status many times thanks to artists from other areas who often use it as a support for conceptual or merely graphic expressions.

Aldo Chaparro’s urgency to confront the canvas with “pictorial honesty” becomes flexible the moment it incorporates external elements such as frames that, as an almost Déco gesture, asymmetrically support the work. The change in his relation with matter, texture or distinct color palettes is also reflected in his subject: in its apparent abstraction and pattern repetition, elements such as clouds and the glow on water appear, referring us to their Tibetan and Japanese representations where, amongst other things, these symbolize purity, clarity, renovation and spiritual cleansing. Towards virtue after the flood.

Courtesy of the artist and Colector

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