Annotated Biography

Spanish

Photo by: Fernando Bracho Bracho.

Francisco Bugallo (Caracas, 1958) has devoted much of his creative work to the analytical review of Western art from the Renaissance to the avant-garde artistic movements that emerged during the twentieth century. A project committed to do "good painting", has enabled the artist to reinterpret the "classic" with a contemporary vision based on the conceptual and technical rigor that characterizes all his work. Within this line of research, evolves in the use and experimentation of resources and materials without changing the object of study. After the excellent pictorial versions performed on the Renaissance, Baroque and Neoclassicism European―Raphael, Uccello, Botticelli, Mantegna, Velázquez, Ribera, Zurbaran, Goya, Ingres, etc.― develops “Imagen y semejanza” (1999) and “Al final… el juicio” (2008), monumental artistic recreations inspired by “The Raft of the Medusa” by Géricault ―in dialogic relationship with “Christ lying” by Holbein and the “Last Judgement” by Michelangelo respectively, dominated by the idea of fragmentation and for the mixture and assembly of materials ―some recycled― to articulate a narrative on par with the theoretical foundations of postmodernism.

Based on the same themes but with new concerns and aesthetic pursuits, Bugallo decided to explore the expressive possibilities in the field of art by technological means and thus penetrating the complex computer systems that serve as a platform to reveal the objectives guiding its most recent study. From a catalog including the work of Impressionism, Neo-Impressionism and Fauvism, in addition to Monet, Van Gogh and Sorolla among others, tries «to remake» original paintings with digital programs that facilitate the creation of replicas, incorporating the silk screen printing characteristics; such as several separated layers of determining "brushstrokes" in the final result. In this sense, the model is transformed according to the artist's interests, who adds different textures, layers, and colors —with diverse grades of contrast and intensity—assisted by digital technology. In this process, he bets to the «lenticular print» technique, as a mechanism to combine special plastic sheets with interlaced images to produce the illusion of depth, movement and three-dimensional (3D) effects, and to modify the perceptual conditions. With these experiences Bugallo amplifies the scope of his proposal to create a "controversial" work, which reflects on content, practices, validations and questions inherent in art history from today's perspective.

Luis Velázquez