Antonio Perez Melero



BIOGRAPHY:

 Born in Spain, PEREZ MELERO began his career in Venezuela where he lived from the late 1950's until the early 1980's. Maintaining workshops in Caracas and New York, he is an artist who exhibits his work internationally and is in public collections which include the Spanish Museum of Contemporary Art, CANTV, Fundarte, the American Institute of Architects, Intel Corporation, the William J. Clinton Presidential Library and the Women in Military Service for America Memorial at Arlington National Cemetery in Washington DC.

 

ARTIST STATEMENT:

My 3-dimensional constructions are built mostly from wood, paper, canvas and acrylic paint. Their ideas evolve from an organic and intuitive process. The final work is a combination of my creative vision and a highly organized process employing disciplines of geometry and applied design.

Viewers should interact physically with my constructions. They need to walk around them and view them from different perspectives. Up close one can see the detailed and intricate methods of their construction. From further back, one can appreciate their total effect. Color and light and how they interact are central to my work. Color is painted on pieces of wood attached to a high-contrast geometric background. Light penetrates between them, reflecting color from one to another and on the background.

These reflected colors seem to mix in the air and produce an impression of others.

As light sources change angle or intensity, and as the viewer moves around the work, new colors can be perceived even though they aren't really there.

The interaction between color and light has produced an illusion.

This relationship between color and light, in part, defines my work. Color and light and how they interact are central to my work. Color is painted on pieces of wood attached to a high-contrast geometric background. Light penetrates between them, reflecting colors from one to another and on the background.

These colors seem to mix in the air and create an impression of more. As light sources change angle or intensity, and as the viewer moves around the work, new colors are perceived even though they aren't really there. The interaction between color and light has produced an illusion. This relationship between color and light, in part, defines my work.

Viewers should interact physically with my work. You need to walk around and view it from different perspectives. Up close you can see the detailed and intricate methods of construction. From further back, you can appreciate the total effect.

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