Roger Sanguino

Roger Sanguino - "Unseen XXIV" (Hidden XXIV)

Técnica: Oil and stainless steel on fabric and wood.

Biografía del Artista:

Roger Sanguino was born in Venezuela in 1968. In Caracas he began his training in the field of plastic arts, passing through the “Federico Brandt” Art Institute, and the “Arte & Fuego” School Workshop, between the years 1990-1996. From then on, he began participating in official regional and national competitions throughout Venezuela.

In the beginning, drawing and painting were the disciplines in which she undertook her personal quest, exploring the theme of the biological diversity of animal species, which she also developed in the field of fused glass.

In 2003, Roger Sanguino travelled to Barcelona, ​​Spain, where he completed formal studies at the Escola Massana in Barcelona: the Advanced Training Course in Painting (2003-2006), and later the Advanced Training Course in Sculpture (2011-2014). At the same time as he carried out his studies, he took part in different artistic competitions, such as competitions, biennials and art fairs in Spain and abroad.

Contact with Barcelona awakened his interest in themes other than animal symbolism. The theme of the portrait appears in his painting, which he develops through an insistent elaboration of portraits from memory, with which he shapes compositions like mosaics.

Later, his portraits are stripped of the backgrounds from which they emerge. The person portrayed formally shows a certain volumetric character. It is then that he feels the need or concern for those characters to jump into three dimensions. His studies in sculpture provide him with the theoretical and technical information to begin constructing a sculptural discourse, work that he continues to develop today.

With the Body as an anchor, her most recent work is part of an investigation that revolves around the human being, in which she explores themes such as the mind, body language, the particular and the universal, the relationship with the other, time, the portrait; concepts that together with formal aspects such as the importance of drawing, shape the structure of her work, acting inside the form and outside, through the intervention of piano strings, wires, rods and steel nets. It is a three-dimensional drawing that runs through space, incorporating emptiness into the work, a light drawing, which dialogues with the volume by running through it, or enveloping it, establishing limits, spaces and generating structures like a grid.

“Unseen XVIII” is a drawing made in graphite, pastel chalk, acrylic and piano wire on canvas, glued to wood. Another piece that makes up that series in which I review the theme of the portrait. In this piece, the identity of the person who has served as a reference is not important; I perform the action of erasing or crossing out the image. Only a part of the face remains visible, no further information is needed, I leave room or space for speculation. A steel thread floats over the portrait, creating a kind of division that emphasizes the implicit symmetry of the face. A line that also intends to connect mind and heart. A metallic line that, due to its shiny appearance, contrasts with the opaque surface of the image with which it coexists, and which, in turn, reminds us of the importance of drawing in my work.