How can you intervene in a space to alter your own experience: how you access it, observe it, how it makes you feel? Through the series Polychromatic Structures, Austrian Alois Kronschlaeger deals with gridded forms and how space, geometric patterns and color challenge the viewer as he moves around the geometric sculptures. Depending on the spectator's vantage point, the grid rotation creates a different color spectrum resulting in an optical illusion. For Kronschlaeger, observing space to obtain different perceptions is an endless source of exploration. Through his basswood ink grids, large-scale and site-specific installations, Kronschlaeger explores the complexity of time and space via geometry. In this collective exhibition, the artist who has made interventions in Beijing, the Czech Republic and the United States will be showing a spinning cube and a corner piece, among others, allowing the spectator to experience the geometric polychrome sculptures from different perspectives.
For Colombian artist Mónika Bravo, music, as one of the most emotional forms of art, offers a medium to fuse visual and sonic worlds to transmit different feelings. Through Studies for Musical Notations, she composes emotional scores and intervenes in space to create a new language using geometric figures, traces and animations. As humans perceive time and space through memory, this language is felt and interpreted differently by each viewer. Through the artist's site interventions, the audience's perception is challenged and the question of what is real is generated. The artist uses her emotions to decipher her physical and emotional relationship with music, space and the world.
Through Peruvian artist Michelle Prazak's geometric paintings, her fascination for visual and sensorial perception is suddenly revealed. By observing her artwork, the spectator falls into a game of perception. Her compositions, which are born from annotations, sketches, photographs and wooden blocks, experience different stages to finally become fine pieces that interact with the viewer. A constant game of color, shape and contrast generates spatial bonds and movement notions that open the possibility to explore the vastness and infinity of the space we live in, a space where the spectator's own perception determines what's real and what's illusion.
The Colombian artist Máximo Flórez presents four triptychs of the series Vigas y Columnas (2016) elaborated with black-and-white threads and wood. His geometric compositions, apparently unfinished, allude to instants of a construction and deconstruction process. Taking architecture as a reference, he uses drawing, scale modeling, computer modeling and the initial stage of edification in which dimensions and forms are translated to a specific field through threads. Máximo refers to this last one as "a drawing in space," representing hybrid forms of painting, sculpture and drawing.
Francine Birbragher-Rozencwaig is a Colombian art historian, writer and independent curator. She is a founding editor of ArtNexus, serves on the editorial board of the online magazine Letter Urbana (Miami) and regularly writes for several publications. She has also worked as an adjunct curator at the Patricia and Phillip Frost Art Museum at Florida International University (2008-2015), where she organized several exhibitions. She is currently serving on the board of advisors of the Friends of the Uffizi Gallery in Florence, Italy, and is a member of the International Association of Art Critics (AICA), College Art Association (CAA), Funding Arts Broward, and ArtTable.
Shadow Dancing opens at Impakto Gallery April 14.