1 May, 2012
X Espacio de Arte, Mexico City, Mexico
Chilango Magazine Review
By Veronica Sanchez Marin
The trickery of software, the games of composition, the palette that computers use to overflow the retina. They are not truculent gimmicks, but rather a tamed toolbox, one that far from weighing down on its style lightens it. Since 2004, the work of Santiago Lozano (Bogota, 1972), is the result of a process where the computer and design software take the place of brushes and pigments to produce artwork in traditional formats.
Fusing one of the most traditional arts with the new power of technology allows Lozano a work rich in textures, closer to abstraction than to figuration. Despite being digital paintings, each of his works is unique and singular, created for a single reproduction, thanks to the wit of the artist in using the printing technique called giclée.
The exhibition Void, opening on May 9 in X Espacio de Arte Gallery and running through May 30, is comprised of 17 works in small and large format that combine—as does his earlier work—real materials (acrylic, pencil, photography) which is scanned and printed on canvas with an impeccable resolution. In these works the artist prints clues to decipher a personal imagery that, if made explicit, would include real object such as barbed wire, nails, flowers and rope, elements wrapped in a halo of both the most delicate femininity and self-destructive rage.
One can detect in the work of Santiago Lozano traces of surrealism and evident references to pure abstraction. The new approach to art and digital art that this artist proposes is an interesting look back at the XX century as a pictoric source. And it just might be that the future is all about new techniques. With Void, Lozano vindicates, above all, the importance of concepts over objects, of the final result over artistic processes.