Lucia Pizzani’s artwork addresses the impermanent condition of the body by exploring its inner and outer spaces. The idea of the threshold is central in an attempt to visually represent points of entry. The notions of fracture, anxiety and transit are also present in a process guided by action, movement and transformation of the surface and the body itself, exposing emotional states as well as exploring formal aspects that seem to be closer to painting.

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Amalia Caputo’s thoughts about photography convey its duality, being both a narrative or a non-narrative tool, always as an intermediate between the thought and the action of clicking, and registering or choosing a specific frame. In her most recent photos and videos, she has addressed the concerns of art history, memory, cultural icons, domesticity and the obsessive/compulsive as a stigma of our times.

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Hermann Mejía started drawing very young, studying comics, including MAD Magazine, that had made their way to Venezuela from America – although he spoke no English at the time. He cites artists such as Sergio Aragonés (author of the wordless Groo the Wanderer strip) and Mort Druckeras as favorites.

He started collecting comics at age 13, and received his first artists’ commission at 15, painting promotional graffiti for musical acts in Caracas. He studied at the Caracas Design Institute (Instituto de Diseño de Caracas), and from there went into commercial art, including the design of a series of Venezuelan postage stamps commemorating the Pope.

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My intention is not to try to change the world. I’m aiming, instead, to represent some of the new and problematic scenarios of the contemporary world, which, without realizing it, have become part of our everyday life. I want to awaken consciousness about them in the individual. These allegorically portrayed situations reference a variety of the ‘accidents’ that are caused by humans. My series denounces what has become a habit. Art by Rodolpho Vanmarke.

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The installations of Carola Bravo, her imprecise cartographies, are nurtured by the possibilities of spatial representations. I admire their retrospection, their experimental nostalgia, and their adventurous utopias.

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This time I wanted to make an interpretation of the power of beauty and femininity over others. These goddesses, queens and princesses are at the top of their peers. They look over their shoulders and watch us from another dimension. They are powerful, magnetic, proud, coquette, dominant and they know how to cast their spell.

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Andreina Acero’s paintbrush not only combines pigments but also the Latin spirit, the mixture of races. In their veins, the most vibrating pulses run with the best and worst of their cultures as rich and antagonistic. Like street dogs, these characters walk between races and differences. They blend and mate, giving birth to something different and unique.

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