Two different generations – 1961 and 1980, two different cultures – Venezuela and Belgium. Now imagine the powerful crash this encounter creates and let time stand still. MONTORO12 Gallery invites you to immerse into this viscerally baroque cloud, floating fragments of memories, art, life, death, eternity, fantasy, beauty, grotesque. Like in a state of amnesia, try to reconnect those fragments and discover the complementarity of De Teran's and Van Oost's corpus of works.
Luis Gomez de Teran (b. 1980, Caracas) he lives and works in Rome, but has previously lived in London and Berlin.
Gomez’s art is deeply symbolic and draws its inspiration from Baroque painting, in particular from the Caravaggio’s school. His favourite themes are mythological, with extreme attention to Greek and Christian mythology. His precise trait is inspired by his research on the human body both in moments of beauty and in those of decay and, above all, by what transpires from the human soul in the instants in which right emerges from wrong, and good from evil. His accurate and attentive technique searches symmetry and light, always availing itself of contrasts and of the powerful dichotomy between beauty and horror, strength and weakness, winners and losers, freedom and slavery, life and death. Gomez is mostly selftaught in his use of oils, acrylics or the cans he uses to paint canvases, walls, iron or mirrors.
Gomez has signed some of the most beautiful walls in many cities, including Rome, Berlin, London, Barcelona and Mumbai.
Jan Van Oost (Deinze, 1961) lives and works in Ghent. He finds his own linguistic antecedents in the symbolism of Wiertz, Spilliaert and Ensor, lives the pressing presence of Death and represents it, since his first works, through conceptually minimal metaphors, like a broken mirror-where the bullets are still sticked-which holds the memory of the past. His drawings seem to be references to Artaud collecting fragments of anatomy, debris of bone, nails in a page which becomes the space of a coffin. Nevertheless, in spite of his interest -during his forming years- for the history of madness, it is in the Flemish carnavalesque tradition that we most find the universe of the grotesque in which the human figure reveals its inconsistency The concept of the end of life is central in his woks, often accompanied by the ritual of pain ,like a constant warning to accept our mortal beings. The artist feels that the immortality of the human being does not cancel only his individual and ontogenetic capital, but that the philogenetic capital of mankind is in danger of disappearing. This is why he operates a vibrant denunciation through the visualition of shapes marked with strong humanity like memory, feeling, femininity, sexuality, past. Tackling interactively with objects that belonged to the human being’s real-life experience, Van Oost ”metaphorises” these signs, intending to throw up an emotion and a regret; the premonition of a total reversibility. Irony is inherent in almost all of his works; a complex ambiguity between horror and seduction, between reality and fantasy. Art reveals things that are not usually within one’s consciousness range. A strong conception of life; a mental theatre referring to secrets. Viscerally baroque.