In the 1970s, a young graphic design student stormed the visual arts scene in Caracas with paintings impossible to place in pre-existent categories. Very intuitively then, people connected his work to a Cézannean maxim: the identification of geometry and nature. Pancho Quilici has continued for the last 30 years to develop paintings that are un-natural landscapes, geometrical constructions that are organic, paintings, installations and digigraphs in which the connection between nature and mind churn infinitely varied conflicts.

Why landscapes, one may ask? Because a horizon dominates the space, there is a separation between air and Earth, and a chromatic scale reminiscent of things natural. Why geometrical constructions? Because geometry, which originates in nature, becomes architecture: a reminiscence of architectural forms that inform our brains and are part of our Westernised selves. These relations between mental structures and natural perceptions are not gentle ones in Quilici's oeuvre. The tension between the power of ones and the seduction of the others is such that each painting lies at the miraculous edge of a virtual commotion.

Pancho Quilici, First Prize at the 1994 Festival International de Peinture at Cagnes-sur-Mer, France, will exhibit paintings and installations at the Bolívar Hall of the Embassy of Venezuela from April 16-30, from Monday to Saturday, 10:30 am -6:30 pm. The artist will attend the preview on April 15, at 6:30 pm.