User talk:Pedro uhart

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          PEDRO UHART     http://www.pedro-uhart.com

Pedro Uhart created what he call Floating Murals, to free painting from the confining wall, and show it outdoors – as he did in Paris, New York, and elsewhere, - in parks, gardens, and streets, without excluding in the name of freedom, either the wall…or the art gallery’s frame . If for Verlaine poetry was above all music, for Pedro Uhart painting is above all colour. Beyond the mural painting’s chromatic tradition, he developed a unique sense of tinting which within the bold black outline of his design, acquires the striking luminosity of stained glass, becoming the dominant expression that sets the emotional tone of his works: epic in the Amazones, vibrants in the Musicians, comic-erotic in the Canapes.

Pedro Uhart’s murals differs in style from those of his Latin American predecessors, his early ones join them in political content. In 1973 at the Biennal at the Paris’s Muséum of Modern Art, he hung between two columns, a floating mural titled « Once de Septiembre de 1973 », against the Chilean’s army putsch in which President Allende was assassinated. This mural, that Le Monde (the famous french newspaper) called « Guernica du Chili », brought the artist public and critical recognition. In 1974, under the auspices of the Office of Cultural Affaires Of New York City, and the Lower Manhattan Cultural Council, Pedro Uhart hung in the Central Park bandshell, in Washington Square, and in the Battery Park trees, a fourteen meters long mural, « The History of War », « wich attracted the atttention of thousand of people, and was praised by the press as a work of art which conveys its message effectively, and enhances the beauty of natural enviroments. In this murals, wich show the people’s struggle for fredom whith an astonishing lyrical intensity.

Julian Cairol-" from the Pedro Uhart exhibition catalogue - TROPICALISME - Galerie Art et Mouvement monographie et Art Tension 1991 Paris"

      JAPANESE VISIONS  by PEDRO UHART   http://www.pedro-uhart.com/WebPagesUS/japonais.php 

Even if they share themes of Japanese prints « Shunga », Pedro Uhart’s « Visions » are not so much erotic scenes as pictorial meditations about the flesh. The painter has chosen not to show the coarse reality of lovemaking and the flesh is hardly visible - unlike the Japanese displays of proudly erected rods and flower-like vulvas. Intertwined shimmering shapes, layers of clothes that reveal the bodies as much as few glimpses of real nudity, a sophisticated and codified « mise-en-scène » typical of Japanese art. A conventional background that seems to be ogling the scene – these contribute to uncover the true nature of flesh: flesh is a mask. Skin is cloth, attire is skin. The landscape is a screen, the screen is a landscape. Flesh can only be glimpsed through folds and layers that cover and shape. The fascinating erotic power of the mask does not consist in hiding something, a figure or an artefact that could put an end to desire. From the mask-like faces of the lovers to the flowering cherry-tree, the ineluctable river, the snow-capped volcano, and the cosmic sky. Pedro Uhart may be pre-Columbian in his range of colours and tints, in the way he uses thick black lines to define spaces, but it is in Japan that he found true masters of ceremony who equate form and content and who have inspired him.

That is why his « Japanese Visions », are as powerful as icons.

Yves Belaubre- "from the Pedro Uhart exhibition catalogue -VISIONS JAPONAISES - by Pedro Uhart - Galerie Mostini - Paris january 1997"

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