ON THE WORKS
From the artist
"From the depths of the artist, emerge flights,
transparencies and movements towards the infinite".
"The works have movement, they look for a strong
harmony in each of the lines that shape it. The works
have depth, which blends with the subtle air. The
works turn abstract while they suffer changes in each
one of their movements."
"Chaotic reality or abstractional harmony...I'm
talking about the mutual agreement between figurativism
and abstractionism. A clear harmony, resulting from
the encounter between two movements, this is figurative
Gustavo Velez sculptural process is the result of
the figurative artist's flight, abstracted from the
reality of our world.
May 13, 1998
"(...) The marble brought in from Italy is transformed
by this artist into works that play between the figurative
and the conceptual, between forms easily identifiable
and others more abstract, full of movement, light,
shadow and search of the infinite".
Luisa Fernanda Restrepo
El Mundo Newspaper
After quieting for a long time, the sound of the pneumatic
hammer pulls me out of a state that was taking the
likeness of dream. Minutes before, surrounded by marble,
catwalks and pulleys, amidst the dust, it could have
been thought that this sculptor and his atelier were
just remnants of Renaissance, in the vertiginous birth
of this century.
Now, after meditating over his intense, wordless dialog
with the stone and having seeing him -arrayed like
a modern workman- wonder contemplatively around it,
I have the sensation that the chisel, vibrating in
his hands, will commence, not a search in itself but
the arduous path that will take him to the encounter
with his work.
Days afterwards, from the now revealed depths of his
material, I will see, emerging from the encounter
of lines and ondulating surfaces, the purest archetypes
of the verb, the flame, the foliage, the flight or
the vertical, opening rose or the love on the mounts
of Venus. Atavistic abstractions, multiplying and
confusing themselves in harmonious waves, or isolating
and synthesizing to the most elemental form of roots
or tongues of fire: reminiscences of mythology, of
art history, of life; apices of arabesques which,
in hinging space, seem to express Gustavo's wish to
use his machines to reduce to dust the white metaphors
and proceed sculpting the void with his hands… and
the workshop again in silence.