One of the youngest artists in our gallery, Amundarain’s work stems from two well-assented platforms in Venezuela’s artistic landscape: the tradition of abstract geometry on one side, and the reflections about the city of Caracas as a topographic landscape, on the other.
His largest series of assemblages titled Urban skins and Anarchical skins are a visual synthesis of what Caracas looks like from above, intending to analyze and reflect upon the social circumstances and irrationality that prevail in this chaotic urban development. Amundarain departs from the overhead shots taken from the city’s barrios (slums) as a model, and dissects its landscape formed by the geometric shapes of the roofs of millions of ranchos (favelas). He uses Aluminum triangle and square blade-alike shapes that overlap the bi-dimensional surface and produces volumetric assemblages that suggest not only the violence, but also the unruly and massive informal habitable solutions of poverty.
In other bodies of work, Amundarain is reflecting upon Venezuela’s conflictive street violence to generate paintings, sculptures and installations, thinking about the unfortunate popular culture icons of violence in the context of their own reality, in which the whole city becomes a crime scene at large. It is quite common in today’s Caracas to find its urban landscape scarred with physical evidence of this violence, such as the traces left from bullets in street signs, protection barriers on roads, and damaged infrastructure that present vestiges of thuggery. In his series Impact, Amundarain perforates aluminum painted gold surfaces with real bullets, or as in Formal Subtraction where he removes highway safety barriers that have been damaged by car crashes or bullets and alters them into sculptures, not before intervening them with paint or chroming their surfaces. With his work, Amundarain is commenting about the social scenario of a system that has progressively fallen on hard times, using a visual strategy that pertains to Venezuela´s rooted art historiography within the disciplinary boundaries of geometric abstraction.
Born in Caracas in 1985, Paul Amundarain began studying Architecture, but soon became interested in producing art, and instead pursued different design and sculpture workshops where he could develop his creative impulse. Has exhibited largely in Maracaibo and Caracas in collective shows and local art fairs, and has had four solo exhibitions in Venezuela, in Viloria Blanco Gallery in Maracaibo, and Parenthesis Gallery in Caracas. Paul Amundarain lives and works between Caracas and Miami.