Armando de la Garza in this series of paintings returns to the natural values of a painting: beauty, color, and composition making detail and fragmentation an emphasis of our observation. The Nietzschean, Dionysian "immoralism" that inverts the values and returns to that nature that we have lost by imposed moralism, is the fullness of the color that inserts framed the details that reproduces to mention an indivisible whole and present in our pictorial memory.
The works are panels that separate the pictorial elements and reassemble them, the isolated colors in absolute abstractions are extracted from the details of the fruit basket of the Baco de Caravaggio, a face and the candelabra of the Marriage Arnolfini by Van Eyck, the legs tied of the Lamb of God of Zurbarán.

#33 Diptych, 2018

  • Armando de la Garza    

    #33 Diptych, 2018

    From the series ''La Transvaloración de Todos Los Valores''

    Oil and resin on cardboard and cotton


    Dimensions: 8.6 H x 6.2 W in.

  • Born in the city of Monterrey Nuevo León in 1973, Armando de la Garza began his painting studies at a very young age. But it was not until 1995 that he finished studying architecture and began his professional career in the art world. He has exhibited in more than 40 group exhibitions in the USA, France, Austria, Czech Republic, Hong Kong, Australia, Italy, Spain, and Mexico. Individually he has exhibited more than 25 times highlighting "anywhere this maybe" in Ginocchio Gallery in DF, "Once Upon a Time" at the Center for the Arts of the city of Monterrey, "ID" in Emma Molina Gallery, San Pedro Garza Garcia. "The Misfortunes of Virtue" Oblyon Gallery, Barcelona, Spain, "Horror Vacui" Gallery Isabel Croxatto, Santiago de Chile "Portraits of the court" eleventh alternative gallery or "Biota" in the space of Area Creative 42 in Rivarolo Italy among others. He has been awarded several awards such as the acquisition prize in the XVII Review of the plastic Nuevoleonesa and first place in the first biennial of the German Cultural Center as well as selections in the IX FEMSA Biennial and in different issues of the Review of plastic Nuevoleonesa, and the National Encounter of young art among others.


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