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painting-is-inexhaustible

Painting Is Inexhaustible

He describes himself as a human being filled with questions who likes to observe, reflect, and read. This is artist Carlos Rosero, one of the ten most important living painters in Ecuador.

Redacción de NUMBERS
2016-07-07

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For Rosero, painting is an inexhaustible resource –a gigantic space filled with aesthetic opportunities, and statements to be made: “It is a vigorous and fundamental language that has remained current”: a way of communication.

This self-proclaimed undisciplined artist works to a non-specific schedule: either a sunny day or a rainy night can be the right time to come and face the canvas. His latest exhibition Transfiguras is the fruit of these unscheduled rendezvous.

His work is a special way of vindicating painting as opposed to other expressions of contemporary art which, according to him, has become “self-absorbed to the point of autism –a point whereby it revels in itself and does not share with the people”.

He upholds this statement because he considers painting as an art that is more about “who you are” than “what you do”, and loves it as much as he loves his family. Painting is thus regarded as a space where art and everyday life can come together.

Female nudity is the first port of call for embarking on the first section of his new exhibit (preceded by the Magma series in 2010). The intent is to show a body that is stripped from material things as a means of revealing and remembering humanity. “The issue of nudity is still taboo, and I think this is based on our fear of showing ourselves to the full extent of our human dimension”, he says.

The second section insinuates the closeness between certain objects of contemporary life —like cell phones, passports, legal drugs, cars— and human beings. His work here, which he has called Clips, thus becomes a sarcastic voice and a criticism of power.

This composition between nudity and criticism in Transfiguras evolved with the collaboration of his son Pablo Rosero, a multimedia artist, with whom the artist achieved an inter-generational dialogue, “a mutual feedback”. Pablo developed a series of prints, which Carlos used to create a representation of the female body.

This display is part of his abundant artistic production. Many of his works belong to public collections within museums in Ecuador, Argentina, and Japan; and private collections in Ecuador, Argentina, France, Spain, the Netherlands, Germany, Venezuela, Peru, Hungary, Mexico, Chile, etc.

Rosero’s material patrimony is a testimony and critical reflection of the reality and the context that he was brought up on and which he is part of at this time. It is for this reason that some of his paintings depict the typical characters of Quito in the 70’s and 80’s mixed in with the city’s development, explains Yomara, one of his five children, most of whom are also artists.

And after discussing her father’s artistic persona, Yomara lets us into his personal world: “He is a humanist, a fighter, a laugh, and a person with widespread knowledge and a critical eye for the world in which we live”.

His production comes to approximately 3.000 pieces inclined towards the New Representation of Ecuador trend. In spite of his creations being showcased at more than 70 arts exhibits both locally and worldwide, Rosero thinks there is always something left to tell. “I am an absolute nit-picker; at times I have abstained from exhibiting frequently because I’m just not ready ­–I prefer to take more time to complete my work. That’s good and it’s bad because the confrontation with an audience can also be used as a tool for self-awareness”.

A WAY OF LIFE THAT EMERGED SUDDENLY
“The road to art is not paved with roses –it is a very complex and difficult path. Even after years, it’s still hard because one has to evolve all the time and in every dimension” states Rosero about his first steps in the arena.

His career in art was mostly self-taught after he studied Architecture. His studies gave him a solid base in terms of some technical nuances, “but it was curiosity and observation of everything that enabled him to delve into his art deeper every day” adds Yomara.

The painter, born in 1952, left his native Chone (Manabí) with his parents and now resides in Quito. He has dedicated more than 40 years to an activity that emerged in his life suddenly and from which he could not escape.

“Being an artist is not something I had contemplated, it just happened suddenly. I cannot say clearly whether I told myself: «This is what I choose to do». I just carried on doing it and then realised I was immersed, and it was too late to turn back”, jokes the Ecuadorian artist who has been awarded 20 recognitions locally and internationally.

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Carlos Rosero has received different awards: among them, a recognition by the National Government “To National Cultural Merit” in 1996 and First Place at the Mariano Aguilera Exhibit in 1985

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