What secrets do the works of Carlos Rojas keep? – Art and Theater – Culture

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The first known works by Carlos Rojas are pencil drawings of leaves, flowers and branches, executed in the 1950s, which not only highlight his great aptitude for representation, but also, when viewed retrospectively, allow us to recognize, in the fluidity and delicacy of the line and in the interest of capturing and capturing the patterns of organic growththat mix of sensitivity and rationalism that would become a kind of hallmark of his achievements.
From the beginning, it was also possible to detect his love of collage and assemblage, which showed both his indifference to conventional perspective and his comprehensive conception of art. For Rojas there were no distinctions between painting, sculpture or drawing. Each modality reinforced his creative arguments, which led him, at that first moment, to “glue papers” in works that combine the simultaneous vision typical of cubism with chromatic and commercial allusions typical of pop art.

The last stage of Rojas highlighted the deeply social comments.

Photo:

Fernando Gomez Echeverri

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He then produced the series Engineering of Vision, canvases resulting from mathematical speculations, basically in black and white and whose location –sometimes extended on the ground– revealed his interest in real spaces and announced his sculptural production in which he would make similar approaches. drawing’ the space, without materializing it, and dividing it into transparent geometric shapes with thin cubic iron rods, painted black. They suggest porticoes to infinity.

His art developed in relation to the great creative movements of the 20th century, from abstractionism to cubism, and from constructivism to minimalism.but his work did not cease to be intimately related to national artistic events, nor to the recognition of our cultural identity nor to the pointing out of specific community difficulties.

Carlos Rojos exhibition at El Museo gallery

Rojas’s work uses varied textures and cubic iron rods.

Photo:

Fernando Gomez Echeverri

red He was convinced of the immense potentiality of the American man and context, and this is how it was reflected in Horizontes, works in which he alludes to territories, to the unlimited material and spiritual extensions, which he sensed for the continent. They are works of repeated horizontal lines and exquisite suggestions according to the intensity of the colors, in which he combines different materials such as acrylic, oil and iodine, and especially annatto, emphasizing its native origin.
In this period his attention to the industrial production of textiles is also evident, his first rustic woods are involved and, paradoxically, El Dorado is also presented, a set of paintings where the color of gold gradually appears, its reflections and nuances that come to cover the entire canvas, giving it a mineral texture and making it the repository of all the associations and evocations that metal has awakened since prehistory.

The environment of his life was always motley, baroque but refined, full of works of art from all times, Lalique crystals, popular art, handicrafts and, of course, bonsai, miniature trees whose Japanese technique he practiced like a true expert. . Nature was always his grounding pole, and perhaps this is the reason why some of his works seem to be abstract metaphors of nature itself.

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The use of the cross as a fundamental element of the Crusaders, the following series, is a way of alluding to the afterlife, to the sacred traditions, without scientific explanation, that survive in the different areas of the world. From this moment on, rationalism begins to be nuanced with spirituality to give its production that ambivalence, that double quality of the product of the mind and sensibility, the fruit of certainty and instinct, from which the richness and depth of its content.

Carlos Rojos exhibition at El Museo gallery

The work of the last stage of Carlos Rojas is based on geometric shapes.

Photo:

Fernando Gomez Echeverri

This appreciation would become even more evident in his next period, Mutants, in which he not only refers to the destruction that marked the warlike and intolerant course of the 20th century, but also makes clear references to the conflict that was lived at that time in the country.

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Moreover, it points to manifest injustices in Colombian society, since it is made with the same materials with which houses are built in the slums that surround the country’s big cities – pieces of wood, tin and cardboard – only that, at the being manipulated and assembled by Rojas, they acquire an aesthetic dimension that confers a hurtful subtlety to their social denunciation.

A metallic, or perhaps cosmic, powder spreads over the surfaces, splashing waste materials, while its oxidation introduces the concept of time and induces reflections on eternity, death and transcendence. Mutantes materializes a dream geometry made up of pieces of wood burned or beaten, beaten and converted by the magic of Carlos Rojas into works of art.

Carlos Rojos exhibition at El Museo gallery

The artist Carlos Rojas passed away at the age of 74.

Photo:

Fernando Gomez Echeverri

The square, that shape that for Rojas was like the magician’s hat from which creative ideas and feelings spring, was consolidated as a starting point, while its varied chromatism seems to respond to the artist’s moods since some seem to radiate sadness and others joy, sometimes delight and sometimes suffering.

The exhibition collects an important part of the unfinished climax of his work, carefully selected works that represent the highest point of a process that was developed step by step, and that allows us to conclude that Carlos Rojas was a master in the perception of tangibles and intangibles, as well as in the transmission of reasoning, instincts and apprehensions.

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