The Eye's Journey: Part Three

The work on display is part of his series The Empty Percentage. In it, the artist counters conventional presentation of painting with a canvas precariously stapled to a bare stretcher, as if the canvas never really found its place on the support. The series addresses the thousands of young Paraguayans who have left the country for Spain to seek work, and the work deals with families torn apart, dislocation, impossibility and frustration, and affect.

This work is a large canvas of what was the ceiling of the Paraguayan German Cultural Institute in Asunción. The size of the canvas accentuates the vigor of the painting, a presence in its own right.

Morselli explores the color and the random course of form in a highly expressive work that is part of a series on the kabala, indeed, that is its name.

Osvaldo Salerno has worked multiple languages (engraving, painting, video, installation). This work corresponds to a series dedicated to the Shakespearean figure of Ophelia. By giving the piece object form, Salerno goes beyond the limits of painting, and by working directly on a reproduction of the well-known Ophelia work, he questions its originality.

In her work, Silva addresses kids who live on the street. The characters on a completely impersonal flat white background overflow the limits of the support to become three dimensional.

Martínez Yaryes makes a digital montage from fragments of photographs of butterfly wings taken from the Internet. She later prints the resulting abstract composition (like mandalas or fractals) on canvas in limited editions.

Keep walking bench, the third piece from his Darwin series, is a bench with versions in wood, marble, and metal. The object is based on a diagram rendered using a register of bird sounds. The lines in the diagram were used to determine the shape of the bench's legs, its most striking characteristic. The work on exhibit is the meta version of the bench.