Lucía Rodríguez Pérez

Untitled (balcony III), 2022, colorful, abstract, architectural painting

2022

In her “Balcony” series paintings, Lucía Rodríguez Pérez uses an same architectural mindset by constructing images of pillars and the surrounding sky by skillfully manipulating color to create the illusion of natural light. While architects and artists cannot manipulate natural light, she masterfully blends colors in her palette to create a complex yet subtle gradient that evokes the feeling of a sunset or sunrise. Each “Balcony” painting...

In her “Balcony” series paintings, Lucía Rodríguez Pérez uses an same architectural mindset by constructing images of pillars and the surrounding sky by skillfully manipulating color to create the illusion of natural light. While architects and artists cannot manipulate natural light, she masterfully blends colors in her palette to create a complex yet subtle gradient that evokes the feeling of a sunset or sunrise. Each “Balcony” painting...

Lucía Rodríguez Pérez was first drawn to painting on a circular canvas while studying in Santiago, Chile. This early body of work experimented with color and featured ivy or plants i...

Lucía Rodríguez Pérez was born and raised in Santiago, Chile. She received her B.F.A. from the Universidad Católica de Chile in 2009, and her M.F.A. from the New York Academy of Art ...

Artist Statement on “Houseplants” series: The following project began towards the end of 2017. The transition from my previous work (abstract expressionist paintings that explored processes related to my athletic practice) may seem spontaneous, but it was something that happened quite naturally for me after an ankle injury I suffered in June of that year. From a very active daily routine I was forced quite abruptly into a sedentary one. While being inactive was a circumstance that made me feel very uncomfortable and uneasy not only physically, but also emotionally, it was one that is so common - and comfortable - for the ever expanding digital society. Without realizing that I was beginning a new body of work I was drawn by a deep urge to painting humans as some sort of inanimate object. A houseplant I thought, a wild organism domesticated. I had a few ideas for the figures in mind and knew the composition would be set in an environment that can neither be recognized as indoor or outdoor, but without clear ideas of the final pieces. Having only rough pencil sketches to start from allowed the work to have elements of spontaneity and life, but also required perseverance to see them through to an unknown end. I experiment directly on the canvas with form and color until the subjects feel right (not necessarily anatomically, but rather aesthetically). Thereon changes continue until, upon stepping away from the work, the sum of its elements evoke a sense of harmony; sometimes on purpose, sometimes by mistake. This is in many ways a continuation of the processes I practiced in my previous work, only applied to a new subject. By embracing mistakes, and responding to aesthetic decisions on the canvas directly the painting begins to form harmony through trial and error, building simultaneously texture and depth, and maintaining an expressive quality. About the artist: Magdalena Paz...

The title of the work in English: "Careful! Ideas are thieves of dreams" Artist Statement on “Houseplants” series: The following project began towards the end of 2017. The transition from my previous work (abstract expressionist paintings that explored processes related to my athletic practice) may seem spontaneous, but it was something that happened quite naturally for me after an ankle injury I suffered in June of that year. From a very active daily routine I was forced quite abruptly into a sedentary one. While being inactive was a circumstance that made me feel very uncomfortable and uneasy not only physically, but also emotionally, it was one that is so common - and comfortable - for the ever expanding digital society. Without realizing that I was beginning a new body of work I was drawn by a deep urge to painting humans as some sort of inanimate object. A houseplant I thought, a wild organism domesticated. I had a few ideas for the figures in mind and knew the composition would be set in an environment that can neither be recognized as indoor or outdoor, but without clear ideas of the final pieces. Having only rough pencil sketches to start from allowed the work to have elements of spontaneity and life, but also required perseverance to see them through to an unknown end. I experiment directly on the canvas with form and color until the subjects feel right (not necessarily anatomically, but rather aesthetically). Thereon changes continue until, upon stepping away from the work, the sum of its elements evoke a sense of harmony; sometimes on purpose, sometimes by mistake. This is in many ways a continuation of the processes I practiced in my previous work, only applied to a new subject. By embracing mistakes, and responding to aesthetic decisions on the canvas directly the painting begins to form harmony through trial and error, building simultaneously texture and depth, and maintaining an expressive quality. About the artist: Magdalena Paz...

Art pieces of Giorgi Vepkhvadze are Abstract expressionism for modern interior designs for Residential and Commercial spaces. Well suited for New York Apartments and Houses. Artist g...

Untitled 01 [Remains of the Remains 01], 2018 oil on canvas 78 47/64 H x 59 1/16 W in 200 H x 150 W cm The large-sized paintings, signed by Zsolt Berszán...

Origins, 2020 Oil on canvas (3 panels) 72 x 108 x 1 1/2 inches, overall Signed and dated, verso leftmost panel

Sonata 23 Triptych 2017 Oil on canvas (3 panels) 48 x 120 x 1 1/2 inches, overall Signed and dated, verso

Color Symphony 49 Triptych, 2016 Oil on canvas (3 panels) 72 x 120 x 1 1/2 inches, overall Signed and dated, verso leftmost panel

Diving for Pearls, 1986 Oil on canvas 88 x 76 in. (223.5 x 193 cm) Signed, dated, and titled, verso