• He studied at the Cristóbal Rojas School (1970-1976), where he was a disciple of Juan Jaén, before studying sculpture at the Royal College of Art (London, 1977-1980), where he received the his Master of Arts, with the supervision of Kenneth Armitage , Bernard Meadows, Brian Kneale, Terry Powel and Philip King. He was head of the department of restoration and conservation of Sculpture of the GAN (1981-1982). Between 1981 and 1988 he taught at the Escuela de Artes Plasticas Cristóbal Rojas. He was president of the National Association of the Young Sculpture(1982). In 1977 he exhibited his first solo exhibition in the Conac Gallery, 25 large-format pieces made of mahogany wood. Upon his return to the country, he begins to exhibit individually in the National Art Gallery and in renowned private galleries of Caracas and Valencia. He has participated in several group exhibitions, including the V National Salon of Young Artists (Caracas, 1977), the VII National Biennial of Visual Arts (MACC, 1983), XLII, XLIII and XLIV Arturo Michelena Hall (1984-1986), "Three masters: Guinand, Prada and Mendoza" (Galería Oro Negro, Caracas, 1985), the 8th Small and Medium Sculpture Triennial (Budapest, 1990), which was part of an exhibition that later went to Bucharest, Belgrade, Reykjavik, Stockholm, Vienna, Paris and The Hague, "The 80s. Panorama of the Visual Arts in Venezuela" (GAN, 1990) and the 3rd Dimple Grand Prize Biennial 15 years (Ateneo de Valencia, Edo. Carabobo, 1993). National awards: Julio Morales Lara Awards (1976) and Andrés Pérez Mujica (1984) Arturo Michelena Hall of Valencia. Sculpture Award (1983) Aragua Hall. National Encounter of Sculptors Award (1985) Fundarte. Eugenio Mendoza Award (1986) Sculpture Mention, Mendoza Room. Caracas Metro Award (1987) and II Prize (1991) Francisco Narváez Sculpture Biennial. Special mention in the Sculpture Hall, 50th Anniversary of the Central Bank of Venezuela. In his beginnings he made impeccable finishing carvings, under the influence of the English school of Barbara Hepworth and Henry Moore. These pieces showed "a space that is obviously not empty but can be described in terms of planes, edges and mass, indistinctly, like any solid form" (1979, p.63). Later he developed serial structures as Study of a Square (wood, copper and stone), recognized with the Eugenio Mendoza Award (1986). Its evolution is linked to an intense work related, on the one hand, to geometric rigor and, on the other, to the use and combination of materials such as stone, metal and wood. The codes of his recent work (geometric shapes, numbers and letters) arranged in frame associate it with the constructivism of Joaquín Torres-García. In each sculpture, the design is structured in a way that allows us to appreciate the possible combinations of the elements and materials, as well as the volume of the shapes that make up the work. "In the works of Mendoza the convergences of two aspects are appreciated: the local root that comes from our origin and the universal projection that is oriented towards the transcendent, that is why its forms are not aseptic but rather they embody some signs and symbols that evoke feelings that transcend any plastic pragmatism, somehow his work fits into the old aspiration to combine pre-Columbian tradition with abstract and constructive tendencies "(Guédez, 1990). The GAN has in its collection the early sizes Progression Phase (1976) and Torso Metamorphosis (1977). His oeuvre is represented in the collections of the National Art Gallery, Museum of Fine Arts, National Council of Culture and Ministry of Foreign Affairs, public institutions in Caracas, and the Francisco Narvaez Museum. His work is in the Art Museum of Maracay, Aragua; Andrés Pérez Mujica Open Air Museum and Ateneo Collection, Valencia; Minas de Aroa National Park, Yaracuy, and the Museum of Contemporary Art of Zulia, Maracaibo. Other works are present in important private collections such as the Empresas Polar Foundation, Mendoza Foundation, Banco Mercantil Foundation, Banco Venezuela, and Chevron, among others.
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