SERGIO VALENZUELA (VALENZ)

The Extradimensional World of Valenz’s Dreams

From Guatemala to the world, Sergio Valenzuela “Valenz” has a contemporary presence in fine art. His work, both pictorial and sculptural, expresses the complexities of the world. His works give many different impressions; they appear finished, yet they seem as if still in their draft phase, as part of an unfinished symphony. His lexicon refers to machines we interact with throughout our lives and the spaces where we find them: living spaces such as buildings, rooms, and cabins that reflect the daily vicissitudes we face.

Valenz’s instrument is a graphite pencil that reiterates messages across his works. Proposals surge from previous ideas and views, and are redrawn over and over on translucent papers, which offer us the opportunity to construct in our minds the storyline of his works and interpret what their meaning is. These hand drawn figures, by the nature of his art, take on a life of their own. When combined, they create systems where they interact in an all encompassing environment. These events occur within the walls of certain living spaces, which nevertheless are part of a greater interconnected system.

Pencil over canvas, on top of luminous colors in the background while simultaneous monochromes surge from the lights and shadows and vice versa. It is an optical play, where illusions are caused by lineal perspectives that provoke the imagination. Multiple perspectives are construed, and they flow towards multi- ple points that require interpretation by the audience. Put together, an interior world is built based on what is happening in isolated, yet interconnected, rooms and areas. It is the way the world is built by humans, each with different roles and functions as part of a greater collective system.

Valenz’s work is unconventional, transposing an extra dimensional world of dreams, which may or may not exist, in our own subconscious level. They are dreams, and they are full of mystery and unknowns. Yet they are not nightmares, and they do not cause our imprecations to emerge. According to his surrealist tendencies, Valenz however is not referring to our dreams, but instead he refers to the automatism around us.

His neo surrealist paintings emerge from his observations and self reflection. His intuition and his subconscious are the source of inspiration. His works are reflec- tions drawn on the interior collective self, combining parody and ingenuity. However, origins and turning points in his pictorial process are absolutely rational. This intention is what builds an artistic development of such magnitudes. His creative and artistic experiences, his knowledge, and his information are the base of his creation.

Valenz’s work is a window, through which we can look into multiple spaces. Our observations of his work cause persecution of monsters in our subconscious. His characters are not chairs, staircases, or beds that are present in spaces of his creations. We, the spectators, are the real characters in his work, and without realizing it, we interpret our own live as we inhabit within his artworks.

ENTRE GIGANTES
RETRATO FELIZ
 
TWO IN THE CITY
TWO IN THE CITY