Oswaldo Subero
Sculptor and painter. He studied at the School of Plastic and Applied Arts (1954-1958) and at the Academy of Fine Arts in Rome (1959-1965). In 1966 he returned to Venezuela and served as director of the School of Plastic Arts of Cumaná, until 1970. That same year he traveled to France and attended the courses of plastic arts taught by Frank Popper at the University of Vincennes. In 1972 he returns to Venezuela and teaches at the Cristóbal Rojas School (1972-1979). In 1980 he represents Venezuela at the XXXIX Venice Biennale. Among his collective exhibitions are "Latin American Painters" (Gallery of Contemporary Art, Maya, Milan, 1963), "Fifth review of figurative art of Rome and Lazio" (Palace of Exhibitions, Rome, 1965), "First international painting exhibition "(Rome, 1965)," Grands et Jeunes d'Aujourd'hui "(Grand Palais, Paris, 1972)," Young plastic of Venezuela "(Inciba Gallery, Caracas, 1974), Venezuelan Expo-Graphics (Marcos IV Gallery, Rome, 1977), "Venezuelan constructive art 1945-1965: genesis and development" (GAN, 1979), "Moments of Venezuelan painting in the twentieth century" (Venezuelan Center of Culture, Embassy of Venezuela, Bogotá and Italo Institute of Culture Latin American, Rome, 1980), "Twelve foreigners and twelve Italians" (Sincron Gallery, Brescia, Italy, 1981), the First Havana Biennial (1984) and the VII Biennial of San Juan of Latin American and Caribbean Engraving (Old Building of the Navy Arsenal, San Juan de Puerto Rico, 1986). "The artist addresses a system of signs based on rigorous geometry qualities and below the limits of the repetitive structure. Each work is a structural geometric abstraction that depends on logic and calculation. Subero is an optical artist with an objectual tendency, for whom there is no difference between sculpture and painting, because the purpose he pursues is not to treat the closed form or volume as such, but to show the visual accidents produced inside a plane Modulated by parallel series of trapezoids. These geometric figures play with the background, originating through the simulated shapes with the gray ones, a false relief; background and form revert incessantly. In sculptural objects, the same modulated elements are made of aluminum profiles and their entirety is perceived frontally to generate a virtuality similar to that of their acrylic paintings. His works vary by the size of the supports, the work can be manipulated to verify in it changes likely to make the viewer's participation feel "(Rodríguez, 1980, p. 149)." Subero's work is appreciated from the pure visibility, in the game of visual tensions that are created in the relationships between shapes, colors, lines, lights and virtual shadows. These elements attract and repel, vibrate, act as energies, light up, generate illusory reliefs, move with the classic poetics of the so-called 'space-energy' (fundamental in Venezuelan geometry), akin to the conception of the 'static-dynamic' by Mondrian "(Erminy, 1999). Of its work, the GAN has two-dimensional Paint No. 38 (acrylic on canvas, 1977), Structure No. 21 (polished and painted stainless steel on the basis of formica, 1976) and serigraphs dated between 1976 and 1981, among others.
.
.
.
.
.
.
.
.
.
