Residual paintings (2017-)


Free from the confrontation between object and image, which unfolds in turn in the vicissitudes of reality-representation and figuration-abstraction, Allan Villavicencio's white paintings appear as the possibility of crossing the obsessive game of reflection and thus unveil a fracture in the classic and modern gaze, binocular, from the history of art. Like Polyphemus before Ulysses, Villavicencio's painting exerts a counter-revenge, restoring a different, cyclopean vision, without contraptions or fictions, where one and the other are the same, and therefore offers a contrary way of seeing reality, to understand art and to practice painting.

By Christian Barragán