Enrico Armas: Quotes, Critiques
He is defined by versatility. By becoming the leading thread, Armas approaches a complex work that attains sophisticated alliances between themes, materials, treatments, atmospheres and reminiscences.
Federica Palomero, Art Critic
The conciliation of several expressive modes, the eclectic tolerance, the simultaneous passing through different aesthetic frontiers, the convergence of styles and consequently the possibility of establishing a personal signature, the imprecise remembrance of close or remote tales that we make our own, the forms without apparent function and the geometry as an ideal system of visual thoughtthese are all parameters of the painting (and sculpture) of Enrico Armas.
Juan Carlos Palenzuela, Art Critic
The work of Enrico Armas is serious and of historical coherence in the evolution of contemporary aesthetics and thought.
Carlos Cruz Diez, Venezuelan Sculptor, Painter, Printmaker, Kinetic Artist.
The works by Enrico Armas are open works, very open, that is, of free interpretation, where there is no need to find them any expressive intention, unequivocal or invariable. They do not require a complex decodification nor possess hidden clues to be deciphered. They are not tight or hard pieces. On the contrary, their contents appear right there in the surface of the canvas, in the sensorial of its thick and sticky pictorial matter, in the tension and distention generated by its planes and forms, in the successive excitement provoked by the visual stimulation of its contrasts of color, some times in crescendo, or with unexpected pauses or leaps, or lightening and fading while disappearing the contours and agitated again accelerating the visual journey, some times fluid or broken, or syncopated or some times hesitant, dubious… And that way, with the gaze flaming, distracted, incisive, excited, tense, serene, relaxed, joyous, cheerful, evocative, associative, evasive, dreaming, conceited… we let ourselves be carried by the energetic and affective stream of the work, navigating in our own sensations, while there outcrops from the bottom of the intellective and emotive communication, certain deep darkness or enlightment, all those things are given to us luxuriantly, profusely by Enrico Armas' pieces.
Perán Erminy, Venezuelan artist, art critic, researcher and curator
He plays to the securities, the relativities and the false clues. He proposes many open roads and many possible continuations for the future. Is the presentation of a non-lineal, non-predictable process. A permanent question about art and life. In other words, this exhibition resembles Enrico a lot, open to the moment, experimenting, nothing fixed. Afraid of the definitive. A doubting searcher. A changing one.
Maria Elena Ramos, Art researcher and international Art Curator, former director of the Museum of Fine Arts, Caracas, Venezuela.
Critique of the Galica-Contemporary Art Expo Catalog:
Enrico Armas is one of those artists whose overflowing sense of color could mistakenly deceive us into attributing a superficial quality to the analysis and appreciation of his work. The elaborate richness of his chromatic repertoire is not only born out of the innate pictorial DNA common to all South-American artists, but also of his own fascinating and complex search code.
Armas is an expert swordsmanan intruder that deftly divides and fragments space by mixing both the languages of the informal and the abstract, the space between graffiti and symbolism. We could find parallels of his work in Jasper Johns’ “Alphabets,” or in the work produced by Nicola de María in the eighties, or even in the color dynamics of Esteve. However Armas belongs to all and yet to none of them, mainly because he represents an extraordinary mix of categories that generate something truly different in our present European context.
His work is characterized by an absolute lack of censorship that often lends itself to symbolically significant imaginations, not appearing as a justification of imagination itself, but as visual motivations of a narrative flowing out of his inner world.
Armas directs images that cannot be considered mere projections, but a profound extension of the artist’s being, like a desire to break the surface and breathe a gulp of air, or to shine for an instant under the sun.
Alberto Tommaso Galimberti, Italian art critic known for his in-depth analysis of the work of Joan Miró, and the French artist Ives Klein, among others.
Art, like the horse, means freedom.