Luis Terán: Afterwards / Afterwords

Opening: 25th October 2007 Thursday 7 PM

On view till: 17th November 2007 Tuesday – Friday: 4 – 8 PM,  Saturday: 12 – 4 PM

Luis Terán has spent two months in Budapest in the framework of the Studio’s residency program with El Basilisco, Buenos Aires, Argentina. This exhibition presents his work done here, which is centered around the meticulous and devoted repetition of a simple action by which he perforates everyday objects as well as his own paintings.
Luis has been making perforated works for a long time. By the process of perforation he converted common street signs and product packages into light boxes. In Budapest he started to perforate three dimensional objects, which this way became light and semi-transparent covered with the marks of the artist’s intervention. He also continued here a series of paintings that repeats the same decorative composition and colors with small divergences caused by the process of re-production. The exhibition displays the different stages of a humble appropriation and transformation of a basic object: the chair and a – for him – iconic painting of Matisse. On Thursday evening Luis Terán’s studio will also be open to visitors who can get an insight to the working methods and processes of the artist. Luis’s residency-blog:

Luis Terán on his paintings:

My art work starts once I have founded a method. That´s why I use the repetition as a way of construction. Repetition can be the evidence of an action, a resource, a material or an image, or all of them at the same time together.
In the last months I started to paint. Tempera over paper. For that I evoked H. Matisse´s composition “La tristesse du roi”. I remembered in my mind that painting, and I intended to reproduce it, not precisely because I knew that I wasn’t copying it, but I wanted my painting to be a direct reference to Matisse’s work.
“La tristesse du roi” is a happy and sad painting at the same time. I also have the intention to make a happy painting, with vivid and fresh colors; and a sad one disharmonic in their composition. When I finished it, I continued painting another one and another one more, as if the only way of sustaining that painting were producing and placing the same composition next to it again and again. At last, I “googled” up the original one just for seeing or comparing if what I remembered had anything in common with this painting. And I notice that Matisse´s work was much less cheerful than my memory of it. The central character that I painted in yellow, was black, like a shadow.
But something remained the same in the computer’s monitor and in the walls of my studio, this was the same image placed one next to another and there weren’t two exactly the same. I mean, when the difference was not in the color, it was in the cut of the frame, or lightness, etc.
I consider now that the method I applied is one of the most “open” ones, because each painting can be painted again and again from zero.or in the future I can evoke the painting I made when I evoked Matisse´s.