Homero Aguilar

Possessed by limitless possibilities, Homero Aguilar's vision leads us beyond conventions of time and space-beyond what is expected. Mirrors against indented skies, landscaped windows reflecting walis of sheer intimacy that open into an abyss of breathtaking space. At one glance fragments of the horizon become redefined, refracted and reframed. Each direction has a new view that is infinite as it surrounds the vision in a subliminai labyrinth that is uniqueiy Auilar. His paintings draw us out of perceptions and into a play between presence and absence. He magically blurs the edges of interior and exterior erasing definition and direction, expanding space in new ways. While observing an Aguilar painting one starts out disciplined and then finds themselves caught in a hypnotic gaze. He forces the eye to trace the iliusive edges of structure, wandering like a traveier across shifting perspectives and focus. We realize the markings of humanity have been removed revealing juxtaposed scenes of lush paradise contrasted with arid desolation, where shadows of light become strips of contained space. He weds opposites ; night and day, sky and water, transparency and opaqueness creating a third perspective that iiberates our souis secrets. In the ethereal architecture of Aguiiar we return to the secret vestibules of our lucid dreams. His multi dimensional images echo and mimic our own emotional sentiments. His paintings call into question civilizations absence of the imaginal - and everything that is "still in the silence". Only a pure eye flot directed toward exposition of reality or solution of practical problems can look beyond the mirror's reflection and through the windows of human pain. For Aguilar's work reflects natures effervescent world and in there we find ourselves and abolute innocense.

"Miramos la luz, para tener la edad del cielo, Y alla en Jo alto, lejos de las heridas del dia se agita sua vemente la hierva de grandes espa clos"

"We watch the light for we have the age of the sky above us and up there far away from the pains of the day moves slowly-the grass of vast spaces"
Christian NOORBERGEN

http://www.fine-arts-international.com/Homero-Aguilar.htm

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Homero Aguilar


Né à Pasto le 13 décembre 1953

Diplôme d'Art Plastiques Institut Populaire de Culture Cali

1979 il Voyage à Paris où Commence sa carrière Artistique

Actuellement vit et travaille à Paris

Expositions individuelles

2005
Gallery Louis Aronow San Francisco
Art Fair Shanghai Chine
Bryant Galleries New Orleans USA
Galeries Smelik Stokking. Amsterdam, Roterdam ,L’Haye
2004
Maison de la Culture Benjamín Carrión Quito (Équateur)
Maison de la Culture Benjamín Carrión Tulcán (Ecuador)
Inauguration de la Place du Carnaval et de la Culture Pasto (Nariño)
Chambre de Commerce Cali (Vallée)
Place 20 juillet Ipiales (Nariño)
Place de Bolivar Tuquerres (Nariño)
Casa Quintero Roldanillo (Vallée)

2001
Gallery Louis Aronow, San francisco (USA)
Smelik Stokking Galleries, DenHaag Holland

2000
Gallery Louis Aronow, San francisco (USA)

1999
Galerie Granada (Espagne)

1998
Gallery Silechia, Sarasota (USA)
Gallery Louis Aronow, San francisco (USA)
Art Expo New-York

1997
Apropos gallery, Fort Lauderdale (USA)
Invité d'honneur au salon de la couture Boussey, France

1996
Chappelle de l'hôtel Dieu, Dreux, France
Apropos gallery, Fort Lauderdale (USA)

1995
Westein Gallery, San Francisco
Consulat Général de Colombie, Paris

1994
Galerie Figuras, Cali

1993
Centre Culturel Cesson Sévigné
Galeria Elida Lara, Barranquilla

1992
ARTFI Pinturas, Bogota
Prestige Art Galerie, Chicago

1987
Galerie du centre, Paris
Galerie Sud centre Culturel, Bagneux

1985
Galerie Sèvres, ParisGalerie d'art contemporain, Chamalières

1983
Casas de la Cultura, Pasto

1982
Galerie Peinture Fraiche, Paris

L’art d’Homero Aguilar provoque invariablement des réflexions et des questions.
Sont-ils ces miroirs, peintures ou fenêtres ?
Qu’elle est cette réalité que peint-elle avec une telle précision géométrique ?
Quelle est la signification de son travail ? Être face à ses oeuvres c’est d’être prêt à entamer l’aventure, de laisser ce qui est réel, et palpable pour nous réveiller dans un monde subjectif où la réalité est idéalisée.
La lumière qui est irradiée à travers les seuils, portes et fenêtres imprimées dans des lignes
géométriques avec le style particulier de créer une atmosphère tridimensionnelle qui
absorbe et saisit l’esprit, les émotions, la volonté à travers les
sens dont il est capturé par la fascination de ses œuvres.
Lesquelles standardisent la recherche incessante de l’être humain ,
pour trouver un monde en paix.
C’est pourquoi, Homero Aguilar dit :
« Parfois, je pense que mes visions dans mon oeuvre sont irréalistes,
mais dans le fonds de chacun de nous, existe une petite lumière d’espoir
que nous ne devons pas laisser s’éteindre, et nous laisser dans l’obscurité >>

Là est la mission de l’artiste, qui nous fait rêver et espérer qu’un monde meilleur est possible et que nous faisons partie de la beauté qui nous entoure.

Expositions collectives

Quelques exemples significatifs dans une carrière semée d'expositions variées dans de nombreux pays.
2000 
3 pintores Hispanos (Taipei, Taiwan ROC)
   Artistes Colombiens à Paris, Unesco (Paris, France)
1999 Figuration critique (Sintra, Portugal)
  Figuration critique, Grande arche de la Défense (Paris, France)
1997 EuroArt (Barcelone, Espagne)
1989 Société Nationale des Beaux Arts, Grand Palais (Paris, France)
1986 Art Expo (New York, USA)
1983 Invité d'honneur du « Salon International de la Fondation Michel Ange » (Corte)
1975 25e salon d'art visuel (Bogota, Colombie)

Formation et distinctions

Diplômé en arts plastiques.
1997  Prix de la Municipalité de la Couture Boussey (France)
1996 1er Prix de la Ville de Dreux (France)
1985 1er et 2e prix Salon des Jeunes Créateurs, Chevilly-la-rue (France)
1986 2e prix Salon d'été, Chamaillères (France)
1984  1er prix Lion's Club International de Paris (France)
1983 Grand Prix de la Fondation Michel Ange
  Médaille d'argent de la ville de Paris (France)
1982 Médaille du Carnaval de Nice (France)
  1er prix Jeunes Peintres, Bruxelles (Belgique)

 

Homero Aguilar applying varnish to his original oil "L'Equilibriste" during his recent visit to Galleria Silecchia. Born in Pasto, Colombia in 1953, Homero Aguilar received his art training in Cali. When this young painter was 25, he left his homeland to live and work in Paris. With no money or personal connections, Aguilar immediately began painting in order to support himself. His talent was quickly recognized, and he was accepted into more and more prestigious exhibitions throughout France. In 1980, Homero Aguilar began exhibiting in Switzerland, Belgium, Japan, Italy, Venezuela and the United States. His work was also an important part of an exhibition at the Museum of Modern Art in Bogota entitled "Nuevas Figuras." Over the years, Aguilar received many awards such as the coveted Medallion of the City of Paris in 1987, as well as the First Prize in the Symbolic Surrealism Competition. Homero Aguilar and his original oil "Trigal", currently on exhibit at Galleria Silecchia. In the beginning of Aguilar's art, there were "paintings within paintings" with references to classical masters. Images of works by daVinci, Titian and Manet appeared in Aguilar's series of imaginary museum-apartments with their alluring emptiness. Soon mirrored reflections began to emerge. Like Van Eyck in "The Couple Arnolfini" and Velasquez in "Las Meninas," Aguilar began creating magically-complex compositions. However, Aguilar uses no props or live models in his paintings. He waits for an inspiration, a vision to appear, and then he proceeds to paint until it is complete. Homero Aguilar's art invariably provokes Reflections and Questions. Are these mirrors, paintings or windows? What is this reality he paints with such geometric precision? What is the meaning of his work? Aguilar cleverly pulls us into his world, and then tricks us into surrendering our reality. He transports us into his strange-yet-familiar world of dreams' reality where there are no limits. A peaceful harmony is created, far from the pains of the day, and he moves us calmly and slowly into the expanded, often breathtaking space where sky and water often combine into liquid plains. In the end, Aguilar's visions offer us lessons of hope, and his Light and Perspective move us past our ordinary perceptions into new experiences. Like Alice in Wonderland, it is "Through the Looking Glass" that we begin to glimpse Eternity. Today Homero Aguilar's work is sought after by collectors all over the world.

Possessed by limitless possibilities, Homero Aguilar's vision leads us beyond conventions of time and space-beyond what is expected.


Mirrors against indented skies, landscaped windows reflecting walis of sheer intimacy that open into an abyss of breathtaking space.


At one glance fragments of the horizon become redefined, refracted and reframed. Each direction has a new view that is infinite as it surrounds the vision in a subliminai labyrinth that is uniqueiy Auilar.

His paintings draw us out of perceptions and into a play between presence and absence. He magically blurs the edges of interior and exterior erasing definition and direction, expanding space in new ways.

While observing an Aguilar painting one starts out disciplined and then finds themselves caught in a hypnotic gaze. He forces the eye to trace the iliusive edges of structure, wandering like a traveier across shifting perspectives and focus. We realize the markings of humanity have been removed revealing juxtaposed scenes of lush paradise contrasted with arid desolation, where shadows of light become strips of contained space. He weds opposites ; night and day, sky and water, transparency and opaqueness creating a third perspective that iiberates our souis secrets.

In the ethereal architecture of Aguiiar we return to the secret vestibules of our lucid dreams. His multi dimensional images echo and mimic our own emotional sentiments.

His paintings call into question civilizations absence of the imaginal - and everything that is "still in the silence". Only a pure eye flot directed toward exposition of reality or solution of practical problems can look beyond the mirror's reflection and through the windows of human pain. For Aguilar's work reflects natures effervescent world and in there we find ourselves and abolute innocense.


Possessed by limitless possibilities, Homero Aguilar's vision leads us beyond conventions of time and space-beyond what is expected.


Mirrors against indented skies, landscaped windows reflecting walis of sheer intimacy that open into an abyss of breathtaking space.


At one glance fragments of the horizon become redefined, refracted and reframed. Each direction has a new view that is infinite as it surrounds the vision in a subliminai labyrinth that is uniqueiy Auilar.

His paintings draw us out of perceptions and into a play between presence and absence. He magically blurs the edges of interior and exterior erasing definition and direction, expanding space in new ways.

While observing an Aguilar painting one starts out disciplined and then finds themselves caught in a hypnotic gaze. He forces the eye to trace the iliusive edges of structure, wandering like a traveier across shifting perspectives and focus. We realize the markings of humanity have been removed revealing juxtaposed scenes of lush paradise contrasted with arid desolation, where shadows of light become strips of contained space. He weds opposites ; night and day, sky and water, transparency and opaqueness creating a third perspective that iiberates our souis secrets.

In the ethereal architecture of Aguiiar we return to the secret vestibules of our lucid dreams. His multi dimensional images echo and mimic our own emotional sentiments.

His paintings call into question civilizations absence of the imaginal - and everything that is "still in the silence". Only a pure eye flot directed toward exposition of reality or solution of practical problems can look beyond the mirror's reflection and through the windows of human pain. For Aguilar's work reflects natures effervescent world and in there we find ourselves and abolute innocense.

Possessed by limitless possibilities, Homero Aguilar's vision leads us beyond conventions of time and space-beyond what is expected.


Mirrors against indented skies, landscaped windows reflecting walis of sheer intimacy that open into an abyss of breathtaking space.


At one glance fragments of the horizon become redefined, refracted and reframed. Each direction has a new view that is infinite as it surrounds the vision in a subliminai labyrinth that is uniqueiy Auilar.

His paintings draw us out of perceptions and into a play between presence and absence. He magically blurs the edges of interior and exterior erasing definition and direction, expanding space in new ways.

While observing an Aguilar painting one starts out disciplined and then finds themselves caught in a hypnotic gaze. He forces the eye to trace the iliusive edges of structure, wandering like a traveier across shifting perspectives and focus. We realize the markings of humanity have been removed revealing juxtaposed scenes of lush paradise contrasted with arid desolation, where shadows of light become strips of contained space. He weds opposites ; night and day, sky and water, transparency and opaqueness creating a third perspective that iiberates our souis secrets.

In the ethereal architecture of Aguiiar we return to the secret vestibules of our lucid dreams. His multi dimensional images echo and mimic our own emotional sentiments.

His paintings call into question civilizations absence of the imaginal - and everything that is "still in the silence". Only a pure eye flot directed toward exposition of reality or solution of practical problems can look beyond the mirror's reflection and through the windows of human pain. For Aguilar's work reflects natures effervescent world and in there we find ourselves and abolute innocense.


Possessed by limitless possibilities, Homero Aguilar's vision leads us beyond conventions of time and space-beyond what is expected.


Mirrors against indented skies, landscaped windows reflecting walis of sheer intimacy that open into an abyss of breathtaking space.


At one glance fragments of the horizon become redefined, refracted and reframed. Each direction has a new view that is infinite as it surrounds the vision in a subliminai labyrinth that is uniqueiy Auilar.

His paintings draw us out of perceptions and into a play between presence and absence. He magically blurs the edges of interior and exterior erasing definition and direction, expanding space in new ways.

While observing an Aguilar painting one starts out disciplined and then finds themselves caught in a hypnotic gaze. He forces the eye to trace the iliusive edges of structure, wandering like a traveier across shifting perspectives and focus. We realize the markings of humanity have been removed revealing juxtaposed scenes of lush paradise contrasted with arid desolation, where shadows of light become strips of contained space. He weds opposites ; night and day, sky and water, transparency and opaqueness creating a third perspective that iiberates our souis secrets.

In the ethereal architecture of Aguiiar we return to the secret vestibules of our lucid dreams. His multi dimensional images echo and mimic our own emotional sentiments.

His paintings call into question civilizations absence of the imaginal - and everything that is "still in the silence". Only a pure eye flot directed toward exposition of reality or solution of practical problems can look beyond the mirror's reflection and through the windows of human pain. For Aguilar's work reflects natures effervescent world and in there we find ourselves and abolute innocense.

Expositions personnelles

Quelques unes des expositions les plus remarquables.
2000   Galerie L. Aronow (San Francisco, USA)
1999 Galerie Cartel (Grenade, Espagne)
1998 Galerie Silechia (Sarazota, USA)
  Galerie L. Aronow (San Francisco, USA)
1997 A propos galerie (Fort Lauderdale, USA)
1996 Chapelle de l'Hôtel Dieu (Dreux, France)
1995 Consulat général de Colombie (Paris, France)
1994 Galerie Figuras (Cali, Colombie)
1989 FIAC (Paris, France)
1987 Galerie du Centre (Paris, France)
1982 Galerie Peinture fraiche (Paris, France)
1981 Galerie Sud Espace Expression (Le Havre, France)
1980 Galerie Peinture fraiche (Paris, France)