The Venezuelan artist Christian Vinck, presents "Album No. 3 / pintura S U D A K A ", (Album No. 3 / S U D A K A painting) his first solo exhibition at Galeria Leme. Through various approaches to the South-American painting, the artist dismantles and revisits certain preconceived ideas of what we think about the folk painting of our continent, playing with the rules of composition and offering a personal and historical review of its configuration.
Thinking about South-America's painting, not its origin, but his retelling, is a task that points directly to a discussion of the history of the territory in which we live in. The displacements of popular/traditional painting, in moments that are close to the primitivism of their themes, invariably ends up becoming something of a personal nature. So one builds a collection that brings together large and small stories or an inventory, which refers to the deep narratives that are intersected. These aspects are key to Christian Vinck's exhibition.
Among the works exhibited are: the series "Cerro e Piedra" (Hill and Stone), a comprehensive review of Sierra Huelén in Santa Lucia, Chile, a set of metaphorical landscapes of the zero point of Santiago, traveling in time through different visual files which represent a survey of the utopias of Hispanic buildings, designed to be the largest defence apparatus against the natives who populated and occupied the capital's territory.
Following the line of the previous series, there is "Trazos Nativos (La melancolia austral)," (Native Strokes. The Southern melancholy) a series of paintings based on indigenous designs of southern Chile, especially the art of the Mapuche people. These works reveal themselves through their search of patterns and certain cultural aspects of Chile, idiosyncrasy that generally determines the Chilean melancholy and that illustrates the imaginary of the Andean vanguard.
Returning to Venezuela, the artist's birthplace, and its recent past, the series "Pisos de casa venezolana", (Venezuelan's house floors) a triptych with details of the floors of the artist's home in Maracaibo or images that are reminiscent of his home, their language, as a space in which he lives and that lives in him.
Another work, related to this country, are the paintings "Alfarería venezolana," (Venezuelan pottery) work that focuses in Spanish ceramics, introduced in Venezuela and that has evolved to become a product rooted in the culture of its people: manual work, land and fire.
Finally, the works from the series "Guston revisitado, catálogo en blanco y negro" (Guston revisited, black and white catalog), is a collection of reproductions of works by North- American painter Philip Guston, creating a catalogue of the works portrayed and their colours. However and ahead of its visual solution, this is the series that depicts more clearly the academic and pictorial tension generated between the North American and South American lines of thought.
Christian Vinck (Maracaibo, Venezuela, 1978) is a self-taught artist currently devoted to painting. Vinck is characterized by being a collector of images and creator of works that depict and reinterpret documents and themes inspired by an endless variety of visual stimuli.
Participant of the 30th Bienal de São Paulo, his work is also part of collections such as the Colección Mercantil Cisneros, Caracas, Venezuela and The Blanton Museum of Art, Austin, Texas, United States.