Venezuelan Masters: Rafael Barrios

Vertical Dislocado en 3 Tiempos Vertical Dislocado en 3 Tiempos Vertical Dislocado en 3 Tiempos

Vertical Dislocado en 3 Tiempos

Hand-made lacquered steel, Golden Red color
22.8 x 37.8 in.
Edition of 4
Certificate of authenticity by Rafael Barrios
Foundation code 751

Rafael Barrios

Dimensions of Life
From hes earlier manifestation, the work of Rafael Barrios characterizes itself by a fort connects with the aspects that define the most human dimension of our lives: the capacity to transform, to alter the perceptive states, to produce multiple, open, carrying schemes existentially of the highest degrees of freedom. He is the dimension of the flight, the game, the challenge to the rigid norms and the routines that prevent our growth like human beings. He is the dimension that enriches our relations with the world and allows to question the patrons who jail the possibility of acceding to experiences much more cleared, redeemed and developed.

New poetic in the conceptual art
Barrios disturb the objects, virtualized the volume, distance to us of the conventional Perceptive habits, obsessively remove the spirit of the spectator with that species of inverse conversion of the three dimensions so own of their sculptures, generate an illusion constant of elevation and suspension, detonating multiple transformations as the spectator moves. First of all, he is exhibited like inventor of situations (sculptor also, but, the sculpture, becomes support discipline who allows him to release a concept). He transfers the condition of sculptor and it accedes to the one of being constructor of new
circumstances where what it is constructed: he is not a work, but rules of the game of the perception.

Integration to the architecture and works in spaces public. The basic intention in the creation of sculptures for buildings and integrations to the natural and urban scope, is the one to make the object public and to participate in the aesthetic experience with a greater number of people. Many ways exist to handle the space, and, when placing an artistic object, already sets a new standard and the place becomes. Unlike the moment of free and individual creation of the artist who works for himself and soon he leaves to confront the result of his work, when a project is made in a building or a public space, is precise to fulfill certain requirements that already impose a certain course: the exigencies of proportion without sacrificing the conceptual force of the speech; the necessity to integrate themselves with the dimensions of the selected space and to establish an approach center; the requirement of not adjusting to solve the problem of the size, but only to harmonize it with the color and the form.

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