Luciano Suárez (Buenos Aires, 1976) graduated in Fine Arts from UCM in 2004 and studied his last year at Leeds Metropolitan University. After a year in the English city, he moved to Norway and spent two years working on different artistic projects. On his return to Madrid he settled in the studio Noviciado 9 where he continues his pictorial work. In 2007 he founded the collective of artists Montaña Sagrada and began to develop his work focused on the Madrid context.
Inspired by the hypotheses or beliefs that homo is ludens and is fiber, from a formal point of view, references to the idea of the purity of painting come from places such as the first avant-gardes or historical avant-gardes such as surrealism or Dadá, as well as from art Brut, Bad Painting or Neue Wilden.
During these last years, Luciano Suárez's work has been developed from a pictorial base close to figuration. Sometimes more visible and clear and in others much more hidden behind layers and layers of paint that have been building a compositional structure completely away from the original figuration. In this way and approaching reaction trends in the face of intellectual art or academicism the themes of his painting always respond to a differentiating and basically personal fact.
The reverse of the scene, the less visible part and the carnival in all its meanings are fundamental themes of his painting. And if the figurative motifs have been recurrent so is the material development of his work generating textures, depths, drips or veils.
Nationally he has exhibited in Hub 27 (Madrid 2019), the exhibition hall of the provincial deputation of Huesca (2016), La Casa Encendida (2014), Matadero (2014), Centro Conde Duque (2013), El Silo de Hortaleza (Madrid, 2009), Gallery Rojo Maquina (Madrid, 2007) and internally at 19KAREN Contemporary Artspace (Gold Coast, Australia 2018) and Hudgraf Gallery (Kiev, Ukraine 2008).
My latest works start from a series entitled Although you don't see me, here I am, which I started at the end of 2018 and in which I continue to work and experiment. The pieces raise different possibilities and open questions to the viewer about what is represented in them.
My works have always remained in the margin of figuration, but it was in the wake of a dream that I chatted about creative processes and his novel The Tunnel with Ernesto Sábato, author of enormous influence in my work, when I began to somehow escape from the figure, from the recognizable as form. In this conversation, Sábato explained to me that he crossed out the most beautiful words in his novel to build a more interesting story.
Likewise, I decided to start working with this idea and began to cover the parts that I considered most beautiful of my work by means of layers, overlaying and hiding each other until I made them disappear, creating a game with the different thicknesses, strata and the very concept of invisibility; this gesture allows the elements represented to coexist under the same support, showing the two sides of the coin under an intermediate plane. The figuration becomes abstraction by proposing a journey in reverse, from the inside out of the painting.