Pedro Perelman

In my practice, I pursue the objective of developing the concept of space. A notion of space that is crystallized by the superimposition of layers, allowing one to follow trajectories and paths.
The visual proposal consists of bringing together disparate places and situations on the same plane, forming one reality within another, superimposing scenarios and generating the interrelation of different scenes, like a writing of writing, which immediately compels another reading, attentive to the hidden face of meaning, to the search for another interpretation of the experience.
Thus, in this way, the work refers to the idea of ​​collage, not in its technical sense, but as an impact on a surface, like cutting and pasting in the virtual world.
These pieces narrate stories, personal, historical, and cultural experiences; they are metaphors for time, for the human condition, for memory. Past, present, and future are interrelated, forming a montage of heterogeneous and discontinuous times that, nevertheless, connect and interpenetrate. Focusing on questioning or rethinking the experiences that characterize the inhabitants of contemporary cities.
The process of creating the work begins with the creation of small scenes, which then become linked, each one acting as an obstacle to the others, preventing the viewer from seeing the complete landscapes. This gives the image a fragmentary, complex, and baroque character that expands toward infinity, resulting in a record of a certain disintegration. The parts form an unlimited whole.
The aesthetic and artistic proposal is to work with the concept of totality and fragment. The fragmentation is formal, material, conceptual, and dialectical; it oscillates between the construction and deconstruction of its surface, since the fragments do not fit together, their edges do not coincide, and they are more a product of chance than pieces of a puzzle. Added to the reconstructive exercise are the superimpositions, which bear witness to the perceptual complexity. Figurative, abstract, and geometric patterns, as well as stains, are superimposed, creating a complex visual tapestry where the gaze is overwhelmed with content.
The constant layering of resources and figures generates an ambiguous relationship between two and three dimensions, and between figure and ground, they are self-referential and their denotative conditions alternate. Spatial illusionism coexists with planimetric color.
Each work is a fragment of a world, crafted with a profound awareness of reality. A generous world of heterogeneity, offering multiple possibilities.
With the fantasy of traversing the universe in an instant, the artist posits a time in which all things happen simultaneously, with the clear intention of depicting the Universe and understanding it as all that exists, [and representing] what each thing is in relation to and alongside others, within the totality of all things, and how they manifest in universal existence. Real things, physical or spiritual, and also unreal, ideal, and fantastical things.