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Art Exhibition by Sanmiguelense Edgardo Kerlegand in Mexico City

By Jesús Ibarra

Edgardo Kerlegand presents its series “Entre monjes, santos y maestros” (Among Monks, Saints, and Masters) in X Espacio de Arte, from February 18 to March 7, where the dialogue emerged from the paint and drawing inspired by fractals (geometric objects whose basic structure, fragmented or irregular, is repeated at different scales) creating a kind of field that invites the viewer to go into the work and its ideology.

Entre monjes, santos y maestros (Among Monks, Saints, and Masters)
By Edgardo Kerlegand
Wed, Feb 18, 6pm
Until March 7
X Espacio de Arte
Avenida México 99, PH “E”
Colonia Condesa
México City

The works in this series contain two speeches, painting and drawing, which interact, mingle and become one. The speech of the drawing ⎯ faces that pay tribute to the great masters Rembrandt, Rubens, Caravaggio, Zurbarán, Doré ⎯ is limited and contains the principles of emptiness and flatness, as they are drawn with a simple and pure line, while the discourse of painting is rugged and has no limits. With lots of layers, there is no area on the canvas similar to another, although it seems they are; fractals come and go to 45 or 90 degrees. Although the painting fills the canvas, layers occur briefly and do not become aggressive, leaving a place for the vacuum. In the discourse of painting, there is no going back; the brushstroke that occurs stays and is respected. The strokes of the figures are mixing with the paint layers, where everything interacts with everything, where nothing comes first and everything is intermixing.

Kerlegand’s work is fun. It does not seek rightness or formality, but it tries to navigate organically and naturally. However, eventually the brushstroke generates something that connects with the figure, a shadow of the face, always with earth tones, ocher, green, blue, white, or gray. The speech in the painting has its own language and it is so unlimited that each work can contain up to 200 figures, plus the faces.

The sphere, a recurrent element in Kerlegand’s work, is present in many of the works in this series. For the artist, the sphere represents the perfect form; it begins nowhere and ends nowhere; it represents the whole. “It has a certain volume and we don’t known whether it is solid or empty,” says Kerlegand. Nature is present in this series through fractals and colors. In Kerlegand’s work, the painting depicts nature, biology, plants, carbon, life, while the faces are the order, the norm, the man who emerges from nature, tries to control it and eventually is again absorbed by it.


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