[vc_row type=”full_width_content” bg_parallax=”” color_overlay=”” vu_equal_height_columns=”” row_id=”” css=”.vc_custom_1523383458274{margin-top: -50px !important;}”][vc_column vu_vertical_align=”middle”][vc_row_inner][vc_column_inner][vc_single_image image=”4318″ img_size=”full” alignment=”center”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” bg_parallax=”” color_overlay=”” vu_equal_height_columns=”” row_id=””][vc_column vu_vertical_align=”middle”][vc_row_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][vc_column_inner width=”2\/3″][vc_empty_space][vc_column_text css_animation=”none”]Francisco Pereira, sculptor and architect born in Caracas, Venezuela (1959) transforms his fantastic universe into sculptures. The artist from Caracas has developed the theme of the evolution of the psyche, from a series of unique and very particular characters, whom he decided to call Bipeds. Animals that move like psychological figures that are in a constant process of transformation, from the animal to the human, from quadrupeds to bipeds.<\/p>\n
A surprising bestiary that delves into the dreamlike imaginary, which delves into the surreal style. His relationship with the arts first manifested itself in architecture, in which he managed to relate art to space, and under this concept he carried out various projects.<\/p>\n
It could be said, however, that his work as a sculptor began to make sense in his investigations into various clay models and resin sculptures, which later inevitably led to bronze casting.<\/p>\n
The symbology of the Bipeds alludes to the psychic transformation of the animal, our natural essence, towards the consciousness of the human. In his creative process, he has been shaping his own bestiary whose protagonists have their own names: Bifante, Birafa, Bidog, among others.<\/p>\n
Through the Bipeds, Francisco Pereira seeks to express the journey of life, whose port of departure we know, but not the one of arrival. This creative metamorphosis occurred at a moment of personal maturity, when the reflection of lived experiences incubated a latent work that transformed instinct into reason. The work invites the viewer to connect beyond visual enjoyment to travel a journey towards personal transformation.<\/p>\n
In October 2013, the solo exhibition B\u00edpedos: mirrors of the psyche was shown to the public at the D’Museo Gallery in Caracas. The exhibition catalog was awarded by the International Association of Art Curators AICA, as “Best Catalog of the Year” designed by the visual artist UAIO Antor. A year after this solo show, his work Apocalypse was selected to participate in the prestigious 67 Arturo Michelena Biennial Salon.<\/p>\n
In 2016 the artist participated in the collective exhibition organized by the Development Bank of Latin America (CAF) where he presented the piece LETRAS, a tribute to Miguel de Cervantes 400 years after his death.<\/p>\n
LETRAS talks about the evolution of the Spanish language represented by Rucio and Rocinante, animal characters from Don Quixote.<\/p>\n
Francisco Pereira’s B\u00edpedos have toured prestigious fairs, such as the Caracas Ibero-American Art Fair (FIA), the KIAF in Seoul, PINTA New York, Barc\u00fa in Bogot\u00e1, as well as ArtLima in Peru and Art Shanghai, in China. Francisco Pereira has participated in different individual and collective exhibitions in Caracas.<\/p>\n
His work has also been shown at the Zulia Museum of Contemporary Art (Maczul). In his most recent work, Pereira reflects on the difficult universal phenomenon of migration, which in recent history millions of Venezuelans have suffered while fleeing the iron dictatorship that has been installed in the country. A diaspora that resembles the process suffered by hundreds of Africans who cross the Mediterranean every day, Syrians who cross the continent in search of refuge, and Cubans who get on a raft after their freedom.<\/p>\n
The Migrants are related to the Bipeds in their long lower extremities, their transformation, the tension of opposites, the pain of abandoning the origin and uprooting.<\/p>\n
Chronology<\/p>\n
\u00b7 Participation in the ArtLima Lima Fair, Peru. 2018 \u00b7 Participaci\u00f3n en la Feria ArtLima<\/a><\/strong><\/em> Lima, Per\u00fa. 2018 [vc_row type=”full_width_content” bg_parallax=”” color_overlay=”” vu_equal_height_columns=”” row_id=”” css=”.vc_custom_1523383458274{margin-top: -50px !important;}”][vc_column vu_vertical_align=”middle”][vc_row_inner][vc_column_inner][vc_single_image image=”4318″ img_size=”full” alignment=”center”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” bg_parallax=”” color_overlay=”” vu_equal_height_columns=”” row_id=””][vc_column vu_vertical_align=”middle”][vc_row_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][vc_column_inner width=”2\/3″][vc_empty_space][vc_column_text css_animation=”none”]Francisco Pereira, sculptor and architect born in Caracas, Venezuela (1959) transforms his fantastic universe into sculptures. The artist from Caracas has developed the theme of the evolution of the psyche, from a series of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"plain-container","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-12","page","type-page","status-publish","hentry"],"yoast_head":"\n
\n. Participation in the graphic project Terra Gr\u00e1fica. TAGA. Caracas, 2017
\n\u00b7 Participation in Shanghai Art Fire. China, 2017
\n\u00b7 Collective exhibition Caracas 2017, D’Museo Gallery. Caracas, 2017
\n\u00b7 Participation in the ArtExpo New York Fair. USA, 2017
\n\u00b7 Collective exhibition Encounter, MIArt. Winnwood, Miami. USA, 2017
\n\u00b7 Collective exhibition Reinventions of nature. Integrated Arts Center, Caracas, 2017
\n\u00b7 Collective Exhibition Show of Venezuelan Artists. Residence of the Ambassador of the Federal Republic of Germany. Caracas, 2017
\n\u00b7 Participation in Lima in the Art Lima International Art Fair. Peru, 2017
\n\u00b7 Group exhibition Imagining Cervantes. coffee. Caracas, 2016[\/vc_column_text][vc_column_text css_animation=”none”]Cronolog\u00eda<\/span><\/strong><\/p>\n
\n. Participaci\u00f3n en Proyecto gr\u00e1fico Terra Gr\u00e1fica<\/strong><\/em>. TAGA. Caracas, 2017
\n\u00b7 Participaci\u00f3n en Shanghai Art Fire<\/strong><\/a><\/em>. China, 2017
\n\u00b7 Exposici\u00f3n colectiva Caracas 2017, Galer\u00eda D\u2019Museo<\/strong><\/em>. Caracas, 2017
\n\u00b7 Participaci\u00f3n en la Feria ArtExpo New York<\/em><\/strong>. EEUU, 2017
\n\u00b7 Exposici\u00f3n colectiva Encounter<\/strong><\/em>, MIArt. Winnwood, Miami. EEUU, 2017
\n\u00b7 Exposici\u00f3n colectiva Reinvenciones de la naturaleza<\/strong><\/em>. Centro de Artes Integradas, Caracas, 2017
\n\u00b7 Exposici\u00f3n colectiva Muestra de Artistas Venezolanos<\/strong><\/em>. Residencia del Embajador de la Rep\u00fablica Federal de Alemania. Caracas, 2017
\n\u00b7 Participaci\u00f3n en Lima en la Feria de Arte Internacional Art Lima<\/em><\/strong>. Per\u00fa, 2017
\n\u00b7 Exposici\u00f3n colectiva Imaginando a Cervantes<\/strong><\/em><\/a>. CAF. Caracas, 2016[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"