1964 Trujillo, Valle, Colombia
Abiezer Agudelo Colombian Artist Ballesteros (1964) has a sustained track record in the department& 39;s representation in regional events. In fact, in 29 national salon of Visual Arts, (1985) South Central, won the fifth prize, Naked and floating works, painting and drawing, worked with his characteristic style. Also won first prize in the 37 Regional Salon of Artists (1997) with the installation happening-Big Draw First National Salon of Artists, which according to Alberto Bern% u201Denuncia a critique not without irony on the reception of art in Colombian society: about the artist who hopes to earn a living room, with the illusion that the circuits on which rests the power of the art market recognize who, in marginacin, lead to or delivered as disciplined in this activity today both define and are grouped under the name of art.% u201D (37 National Artists Salon. Minicultura, 1998).
In 39 National Artists Salon (2003) was selected with car bombs and Resurrection, installation on which he himself says:% u201Cuna of the functions of art is to represent the social environment of the historic with little meaning and depth.% u201D Conceptualizacin supporting the validity of his proposal as he has realized that the artist has to be contemporary. His proposal is consistent with the course of time when the question according Thierry Luve, cited by Eduardo Serrano Revista Semana, No. 847) is: not beautiful, but what happens to the art.% U201D Abiezer answers this question with three-dimensional works and happenings. Agudelo is recognized in the coffee for his painting and drawing figures that were ahead in time to the appearance of phenomena such as androgyny figures that eliminate the boundaries of genre in a universal and inclusive vision of human beings.
Evidence of how the painting goes beyond the local scope in pioneering fashion convirtindose that, despite being temporary, they realize the power visionary artists. Its two-dimensional work in pastel, oil ylpiz uses a loose stroke and firm which evoke the distinctive features of expressionism, which appeal more to the effect on the viewer that the price of the technique. Perhaps that explains the preference shown by many collectors Abiezer when acquiring works of art. Agudelo constantly experiments with the support of the work, all materials are good insofar as these contribute to the creation, joining as a whole. The sample presented to the public but not% u2013% u2013 comprehensive if it covers different periods Seal the constant evolution of his work 2013ascomo u2013pictrica and its interpretation of the environment and art movements born out of the canon of traditional beauty to make proposals that reflected the sentiments of the collective unconscious. Martha Alicia Gonzalez Maya
EXHIBITIONS 1985 - Paintings and drawings of the Republic Bank Library, Arnenia, Quindo, Colombia. 1991 - oil paintings and pastels, Galley pyramids, Santafde Bogot, Colombia. 1994 - Paintings and drawings, Landon Adrian Galley, New York, USA. 1995 - large-format drawings, Hall Signs, and Laws of the Senate, Santafde Bogot, Colombia. 1998 - XXXVII Seleccionadoa participate in the National Salon of Artists, Bogota1999 - large format work - Municipal Music Center - Tel Aviv, Jaffa, Israel2000 - Private. Soria (Spain)% u2022 Private View, London (England) 2001 - Drawings and paintings Colombo-French Alliance, - Club Ranch Salon Gloria. " Bogot% u2022 Von Humboldt Hotel, Bogota 2003 - Homage to Henry Matisse paintings. Casa de la Cultura, Armenia 2022
EXHIBITIONS 1985 - National Salon of Artists, National Museum, Santafde Bogot, Colombia. 1988 - Work in progress, Diners Galera, Santafde Bogot, Colombia. Young Latin American Art, Galley Rabier, Brussels, Belgium. 1991 - International Art Exposition, Convention Center, Miami Beach, Florida, USA. 1994 - XXII Salon August, Gilberto Alzate Avendao Foundation, Santafde Bogot, Colombia. 1996 - XXX Entertainers Quindio, Sala Roberto Henao, Armenia, Quindo, Colombia. 1997 - Latin American Artists Exhibition, Centre, The Mercat, Castelln, Spain. VIII Regional Salon of Artists, Museo de Arte de Pereira, Zone 4 Coffee, Pereira, Risaralda, Colombia. 2000 - Barn Art Gallery, Brussels. Belgium% u2022 American Capital, New York USA% u2022 Panasol Len, Memphis Spain% u2022 Burgos, Spain% u2022 Hotel Dimar, Valencia, Spain% u2022 Sadary& 39;s Galley, Sevilla Spain . History Halls National Art Museum, Pereira. 2001 - Galera Iber Art, Bogota 2003 - First Hall of Visual Art Kennedy "Art in step" Bogot% u2022 2006, Colombian art collective, DIFOCUR, Culiacan Mexico. 2006, House of Culture (UAS) Culiacan Sinaloa, Mexico. 2006, FORUM, Commercial Plaza, Culiacan Mexico. 2007, Museum of Comtemporary Art of Huila (MACH) Neiva Colombia. 2007, "The Unity of Scattered" South-Columbian University, Neiva, Huila, Colombia. 2007, "Collective Colombo-Mexican"
COOPERATIVA DE COLOMBIA University. 2007, Art Without Borders, CUN Neiva Huila, Colombia.
AWARDS 1981 - Third prize, II Artists Hall of Quindio, Armenia Quindo, Colombia. 1982 - First prize, young artists, Galley Centenario, Armenia, Quindo, Colombia. 1985 - Fifth Prize, IV Hall of Visual Arts, Huilense Institute of Culture, Neiva, Huila, Colombia. 1987 - First prize, IV Quindo Hall of Artists, Roberto Sala Henao, Armenia, Quindo, Colombia. 1997 - Prize, VIII Regional Salon of Artists, Museo de Arte de Pereira, Zone 4 Coffee, Pereira, Risaralda, Colombia. 1998 - XXXVII National Salon of Artists, the book initially BogotTomado 37 National Artists Salon, 1998 Update 2000/2003 brochure Regional Salon of Artists X 2003
A profusion of huge faces, endowed by the artist with Latino and Asian features, idealized and exotic, frontal and oblique, serene and placid, gentle and loving, is covered by an atmosphere of their wounded yclida living human bodies and abstract shapes in constant motion and dances pleasures, that project, with its special plastic language, evocations of Greek to the image of fiction futuristic overwhelmed. Meetings and dialogues, and dreams and exaltation, seeking to show the beings who wander in the mind of the artist, the essence of the two genders and that, without lights stage magician from the deepest recesses of their convictions, by a work characterized by its individual stamp, imperious gesture, telling and automatic. A symbolic instinctive, stripped of unnecessary concrete meaning, it constitutes one of the plastic forms that increase or deepen the special planes of expression of the faces that emerge are delayed. Despite the prevalence of figuracin, this is not the communication medium of the artist& 39;s emotions to the audience. A subtle, yet clear language, selected and categorized by the teacher, is the set of special forms that prevail in the symbols, bodies and faces, expressed physically by a stroke of calligraphy distinct, continuous of difano, elementary, smooth and sincere, without hipocresas and without rhetoric, because the natural mode of secretion fisiolgica direct and simple. From a specific point of the imagination Artist consistent, which has thus been released from inseparable intermediaries, mental or material, the utilitarian purpose, commercial or frivolous. No matter, because despite the figuracin, the purpose and communication through plastic are the forms, so that with these, the artist spreads his emotions and experiences, projects deep in the plans and composition creates, generates movement and introduces the internal consistency of the work, as stripped of the spikes and linear descriptions of major events, typical of classic murals of people, as Accel event is the work itself that precisely describe not a story or battle dealings and lack of narrative, go to the logic and coherence of the ways plastic asmisma narrated as the moments of the tumultuous arrival of beings MGIC, from two or three constellations of irrepressible imagination, such as physical, but different in their spirituality, suffering from an aesthetic of free lines and grassy, ??fresh and boundless beings CONDESAN expressionist hierticos, from a few vague and primitive and symbolic areas that make up the mythology to Abiezer, which finds its future in the rule really true of his own imagination. Alberto Botero Art Castro Observer Manizales, Colombia