Critical Reviews & Interviews

Wladimiro Politano’s Imaginary Alterities
By: Prof. Peran Erminy
Translated by: Laura Carias

Occasionally, the not so pleasant world we live in does not seem to correspond to the idea of lo real maravilloso “reality as wonder” envisaged by Alejo Carpentier as related to our America. Nonetheless, an imaginative artist like Wladimiro Politano can attempt, at least in his work, to transform reality into wonderment. The critic Roberto Guevara stated accurately that, as well as Latin America, Politano’s art can only be understood as a stage of fables.

Wladimiro Politano is essentially Latin due to his Italian origin, and Latin American because of his life and work in Venezuela and the realismo mágico (magical realism) present in his painting –a type of expression considered as paradigmatic and definitive of Latin American fabulist imagination. One cannot disregard what lingers of New York in the artist, since he lived for ten years in this city, where his work was exhibited many times. Therefore, Politano’s art is literally a globalized art, although it is envisioned from Venezuela.

In the present phase of his production, distant already from Geometric Abstractionism (except in some of his steel sculptures), Politano has matured a new artistic language, proper, very personal, enriched by a coherent formal vocabulary and a thematic repertoire that centers on the human figure. It is a non-realistic figure, not intended to describe its visual appearance or to serve in analytic speculation, but to allude, lyrically, to a general human condition in the midst of unreal and metaphoric scenes.

His work has undergone radical changes. However, these changes are neither a rupture nor a breach, nor are they a qualitative leap. Between his work’s previous Abstractionism and the present Figurativism, which besides had been evolving throughout the years in his drawings, there is an essential and continuous trend that reveals a single authorship –specially regarding their formal and technical nature.

Wladimiro Politano's self-imposed rigorous discipline –regarding the conception of his work, his notorious determination for formal synthesis, the way he arranges his compositions, and the conscientious execution of his works –is a typical feature of the classical and rational artist. Nonetheless, his art comes closer to Surrealism, since the irrational and the intuitive prevail in his conception, although, in his case, intuition reaches a high degree of rigor and systematization.

Politano has approached, in an unusual manner, the relationships and multiple links established between his peculiar characters and their no less fantastic environment. These relationships of integration are, at times, hardly mimetic and, more often, they function as dialectical oppositions, with different degrees of antagonism and tension. They may become ambivalent, ambiguous or equivocal. In any case, the visual metaphor should be direct and transparent, for the very fact of being in the world implies the same set of varied relationships between oneself and reality. Yet the artist’s metaphors become enigmatic.

The metaphors of the living space are, sometimes, like imaginary sets of inner mirrors; not mirages, or fata Morgana, but speculations, reflections; affective reflections on an empty time. That is to say, they are another non-rational way of being reflective, of speculating –which is what mirrors usually to do.

In this regard, each one of Politano’s paintings becomes a subtle weave, a subtle game of metaphoric associations assembled over the edge of lines, as if on a knife-edge. So when our eyes scan the lines of the drawing, it is as if we were walking a tight rope, not knowing where the fall ends in the emptiness of the work’s background.

These paintings move about in an atmosphere of deferred effusiveness, of watchfulness, of doubt, of silence, of coldness. Yet, inside, there is a burning fire, a fire perceived in the images, affording them a secret and intense underlying life.

The works of Wladimiro Politano belong essentially to the art of drawing. They originate in drawing. They are conceived by letting the imagination flow with the almost spontaneous course of the line. Some shapes close their outline and are covered with black or color. However, in the resulting work, the drawing always prevails. Sometimes the color does not add much to the drawing, and in some cases it could have almost been dispensed with. In rare occasions color predominates and is crucial. But drawing can never be dispensed with.

In Politano’s drawings, the line acquires and evidences its character as the mind's original voice, from which it emerges smoothly, like words in speaking.

Professor Peran Erminy and Master Wladimiro Politano Professor Peran Erminy and Master Wladimiro Politano

His drawing is not descriptive nor realist; neither is it abstract; it is figurative, but neither does it depend on the direct observation of things and beings nor is it subject to the traditional codes and rules of plastic representation. It is a type of figuration in which the recognition of the scene represented is sometimes not immediate, for the shapes are distorted and modified by the drawing, which takes the liberty of preserving the autonomy of the strokes and the independence of its creative fantasy. The latter –like in the surrealists –finds its inspiration in the artist’s inner world, including his unconscious.

Politano’s drawings have the power to emerge directly from the artist's inner world, by way of an uninhibited and flowing imagination, without rhetorical or speculative mediations. Thus the outcome is flowing, vibrant and eloquent drawings, likewise, clean and precise. At times, a drawing might take impulse and move about briskly and with confidence; at other times, it is carefree, as in play. On occasion, however, it is constructive, rigorous and geometric. It is never on its own, for the artist never lets it escape; he maintains control, to the smallest detail, of everything that happens in his work.

In this varying and changing treatment, in which a kind of dialogue between the artist and the elements of his work takes place, there is neither wild abandon nor excess. Notwithstanding, things are not predictable or sure. Internal drives and spontaneity tend to break out, and entropy threatens to reduce everything to chaos. However, for Politano all this is manageable, and in fact, his creations usually work out with the rigorous and eloquent precision of dreams.

The capacity for synthesis that Politano asserts in his pieces is one of the most noticeable and persistent characteristics of his work. His determination for simplification and abridgment begins by removing all the plastic elements that he can dispense with. So he does away with colors and volumes, with chiaroscuro, textures, strokes and brushstrokes, with perspective, distance and depth, transparencies and so on. Neither does he resort to the variations in techniques, in materials, supports nor treatments. In short, he discards almost all the usual expressive resources of painting, and barely holds on to lines, shapes and space.

Wladimiro Politano thus applies the most extreme economy of media, that is, he uses the least amount of resources and efforts to obtain the maximum effects. And this is one of the most significant principles in the historic tradition of artistic work, one of its major virtues. Through this means, Politano approaches a kind of non-formalist, figurative Minimalism, by virtue of the bare, synthetic and scanty character of a work reduced to its most essential and minimal expression.

If Giacometti restricts the material and physical presence of the human figure to the minimum, Politano also reduces its characters and scenes to a minimum of plastic components. And, in addition to the reduction of visual appearances, there is also a reduction of the discursive content of the work, which becomes limited to a symbolic minimum, devoid of contextual and descriptive propinquity.

Assemblage as a resource –in this case, an imaginary, non-real assemblage– leads us with its metaphoric character to alchemy, as the art of transforming combinations, capable of achieving alteraties, from perceptual, symbolic and signifying alterations, to a change of vision and a creation of meaning.

As the artist combines different realities, he resorts to the old and unlimited power of the metaphor, which, in his case, becomes embodied in the plastic materiality of the assemblage. This is the famous principle proclaimed by Lautréamont, and appropriated by the surrealists: “…beautiful as the fortuitous encounter between an umbrella and a sawing machine on a dissection table.” It is from this starting point that the avant-garde movements that revolutionized the Twentieth Century art unfolded. And in this is founded whatever surrealistic component is present in Wladimiro Politano’s work.

The machine pieces or mechanic elements that Politano incorporates into his figures as orthopedic pieces or robots, have a threefold way of articulating in his work: either as plastic forms, as machines, or assuming symbolic functions. In any case, they generate a metamorphosis that is the key to the fantastic element in Politano’s work, and each carries out a critical function against the reification of human beings, dehumanized as an object.

As for Politano's sculptures, it may be said that they develop in two main formal and volumetric conceptions, appropriate to the materials employed: bronze, wood and stainless steel. His sculptural works also vary according to their functions: those destined to urban space, those integrated to architecture –on a domestic or public scale– and those for other frequent destinations of sculpture.

Politano’s large stainless steel works exhibit a single and intense color that enhances a forceful geometric abstract shape of an extreme minimalist synthesis and a basic structure, ending sometimes in sharp, aggressive edges. In these works, volume, shape, color, space and meaning join wholly in a single, imposing expression.

His bronze and wood pieces –more complex from a volumetric, formal and spatial viewpoint– are, as well, synthetic and geometric pieces, yet they are not abstract works. They display a continuous modeling and a pristine finishing. These pieces tend to the greatest simplicity and are reduced to the essential, lacking ornaments or details, thus gaining cohesion and strength.

Wladimiro Politano’s sculptures are more formal and less metaphoric and surrealist than his paintings. All elements that integrate both paintings and sculptures have a certain quality in common, a certain harmony, a relationship of solidarity on which is based the cohesion of the works, despite the inclusion of some contrasting details, that, in any case, do not clash with the whole.

The artistic communication of Politano’s paintings is inter-subjective and is not conditioned by pre-established codes; neither is it referred to any imaginary comparisons with nature.

Space is the major element of interpretative openness in Politano’ s painting. Lines and shapes neither create nor define it, but rather, make it imprecise. It is not an Euclidean space, but a topological and subjective one.

Space in Wladimiro Politano is versatile, unreal, multiple and ambiguous; It is elastic, mutable, uncertain, lacking perspective and logic. It is an ubi consistam that may embrace a variable portion of space and time. And it is also a territory of strengths and tensions that constitute the main visual attraction of these works.




Wladimiro Politano
Dreamlike metaphors and abstract synthesis
By Curator Benjamin Villares

The master Wladimiro Politano has a solid and prolific career reflected in the presence of his artwork in important museums and a lot of awards in Europe, United States and Venezuela.

This selection reveals a part of his most recent work (from 12 years) to the public of Venezuela. Although his work is best known for its approaches and influences of geometric abstraction and more specifically as a sculptor, on this occasion we exhibit a group of paintings with an intense load expressive, dreamlike and metaphorical. At the same time introducing a small group of sculptures, in its most common line, in the same period.

The paintings, in which technically is drawing, geometric compositions and the use of a limited and predetermined colors group, are as interpretations that the artist performs on his inner world, one that has to do with the subconscious outcrops and at the same time, as a reflection of the poetic perception of its palpable reality.

The influences of the avant-garde movements of the early 20th century are receivable and notables, Surrealism, Suprematism, Futurism and Dadaism are part of the training and tradition of the Politano master; but we must point out that most magical and telluric character of our Venezuelan context that has permeated his drawing and painting

It is important to mention the introspective expressivity of the characters represented, that manifests in a way distant, apparently indifferent what allows us as viewers and fans to stop and reflect and inspire us in the creative universe of the artist. The paintings, although figurative in nature, never cease to surprise us by their careful geometric presentation and the meticulous use of spot colors.

As for sculpture carried out a small but representative selection of the recent work of the master. The continuity of its geometric formalist approach is evident says Peran Erminy: highlights the strength of an abstract geometric shape, extreme minimalist synthesis and primary structure, sometimes completed in acute aggressive probes (1). Still, highlighting the use of structures in combination of planes, so that, in the majority of cases appear as several sculptures integrated into a single work. The formal strength in combination with the use of the pure primary colors creates a powerful connection with the object and focuses attention on his synthetic characteristic.

This show is a unique opportunity to get closer to a recent work of high-level technical, thematic and formal of an Italo-Venezuelan artist with many years of experience and research with a large international tour and definitely important in the context of the arts in Venezuela.

Benjamin Villares
Curator
(1). Erminy, Peran: otherness imaginary Wladimiro Politano, Politano, Editorial Arte, Caracas, Venezuela, 2002




Wladimiro Politano
By Bernard Brenner


Bernard Brenner Director and Curator Gallery Maison Bernard & Master Wladimiro Politano
Bernard Brenner Director and Curator Gallery Maison Bernard & Master Wladimiro Politano

From the beginning of our operation as Art Gallery “Maison Bernard” we have presented many and very good local and foreign artists. All from different schools and following uncountable tendencies had something in common, their “arte puro” or “pure art”. We have seen classical, impressionist, post-impressionist, expressionist sub-realist, cubist, and many other artist gather by, and we have never discriminated or made difference, what so ever, since they all have their own value in relation to the various taste and preference of art lovers. The time has come, as following a pre-established fate, to introduce to you an already well known painter in our artistic society. An indefatigably researcher in the field of Art…Painting, Sculpture, a person that never resigns himself and until today has struggled and has never objected on the effort, dedicating himself completely to his art, sometimes with optimism and other with a the natural depression of the ultra sensitive beings, that in their unbreakable search leave along their way marks of silent and highly felt suffering. Today is a great day for the artist that we have the honour to introduce to you; a great day for Politano, since it becomes visible that a new era of rewards to his efforts begins, his desire to project himself in an international way taking with him, as Italian-Venezuelan, the Italian and Venezuelan flags interweaved, with his message of humanity, faith and peace to the whole world.


With great modesty, one of his characteristics, that is well known by all those living near him, he wants to pay his respects and gratefulness to Venezuela, very much loved foster country, where under its purest tropical lights he received his creative inspiration with which he later created his work of art; also to all his friends and art collectors, that had and unbreakable faith in him and his art from the beginning of his carrier. This new stage in Politano´s art offer an extraordinary sensitive strength, a complete security in the composition of volume, the plastic balance and a personal style that expresses the honesty of the emotions and the absolute control of the craft. Is our sincere conviction that this sample of Politano´s art will get through to the hearts of those that contemplate it and for those searching something more than plane sympathetic co-efficiency in a picture, this exhibition will fill with complete satisfaction the lovers of today’s modern Art.




"Images In An Imaginary Space"
By Roberto Guevara

Here is a painter who discovers secret powers to the imagery. With searches aimed principally at treatment of the human theme. His works are placed in the difficult sites in space Imaginary, where there are overturned the conventional notions of depth, relief and perspective that space and remains fluid and transparent as that is the substance of the image in the space.


Art Critic Dr. Roberto Guevara & Master Wladimiro Politano

To carry out these purposes Wladimiro Politano used alternatively two media, drawing and painting. In the first case, the line is sufficient for the artist, because with her trace desdoblados figures or characters, which are crossed with each other and make the journey made in magical field of signals and images. In addition, the paint used in addition to the plain color, used with the dual freedom of wealth and the choice; for free, your game chromatic is broad and bold; by the conscience of the choice, their colors are studied to provide necessary support for contrast and transparency, when these two resources are used to create overlapping areas where the images include other images.

The technical work of master Politan is a constant challenge limitations against the self-imposed, restricts the forms of these figures highly stylised lines that playing between the geometrical and the

As in other cases of talented creators, the limitation here is an essential element in the original social imagery of master Wladimiro Politano, for whom the human comedy and its characters are a constant topic for walking and retrace our steps, through the most subtle loopholes in the space and memory. In effect, his painting is first and foremost a bold field of references. The line or the edge between colors planes, as you want to appreciate, is the border of tensions, but also the line is crossed and creates fields common to two forms, and then there are ambivalent areas, areas that may be on one level or another, in a time or in another. It is a typical case of the resources of the painter to escape the aestheticism of a flat and linear conception of painting.

In its place Politano installs a magical field referrals, impregnation of affective vast planes of bright colors to cunningly opposing the gray and black, and the cool colors. On these large moles chromatic aspect we could say monumental, the incision is part of the trait of the faces, sometimes conflicting in the foreshortening profile double-faced, or sub-added in a multiplicity of characters.

Each character is a human study, and the whole, there is a tense social atmosphere. A question to another, the study of the characters varies and it could be said that in this sense Politano is a tireless researcher into the possibilities of this medium to record the human presence.

Drawings and paintings match in this last aspect. The research of the outline of the face with intentions variables from humor and satire, up to the contemplation of the worldly atmospheres with the same objectification of a dead nature. A imagery of invention that does not turn away from the man. On the contrary, to the concrete, relentlessly.




“The search continues in the art of Wladimiro Politano”
By Dr. Marisa Piluso PhD

There are signs that you have to interpret. A complete and versatile artist as Wladimiro POLITANO, sculptor, painter and Architect Set Designer, he needs to understand the signs and let seduce, take you by the hand and lead them. And sometimes involves difficult choices and painful.

To search for the perfection of own art, Wladimiro POLITANO had to leave, when he was very young, his hometown, Lake, in the province of Cosenza, where he was born on 19 February 1940, and leave the paternal House where in the last few days I could see some of his early paintings.

But it was necessary to understand the signs and choose to sail to distant lands to find out their meaning — her fate as a man and as an artist.

Son of art, Wladimiro gave up everything, even to his work as Director of the scenography of Caracas's main television channel.

Key signs that have meant a lot to him are, for example, certain meetings. Crucial to his artistic future was Nicolas Karger, art dealer Shanghai native who was at the large Studio and saw the high quality of the Politano artistic work to such an extent to make him remember Picasso to who knew personally. Karger suggested Politano to move to New York where he knew the face of success.

Appreciated by famous art collectors such as Onassis, Rockefeller and Donald Trump, winner of coveted prizes, including the "World Art", his works can be found in the Metropolitan Museum in New York, in galleries of the world, in the museums of modern art in Tokyo, Austria, stockholm, atlanta , Florida, and in those of the main European capitals.

Artist now celebrated at home and abroad, recently POLITANO donated the birthplace a sculpture entitled "the Convergence of Contrary", expressing a sincere affection for its native hometown.

A sharp, refined work of exquisite eloquence, that reveals the style more characteristic, essential, innovator and genuine artist, said that the Italian press has released the following statement about his art: "my is a continuous research in the space of the imagination, dream, metaphysical, surrealistic space, which serves as a bridge to project myself to infinity, the spirituality".An infinity whose silences are much more eloquent than words.

The artist is, in truth, one spirit.An artwork is inspired by God and, once more, does not belong to its author, but to the whole world.

Supported by faith in God, RAKESH has traveled the world to find out himself, without ever forgetting his noble roots, nor his land and affections more dear. And spurred by his anxiety of constant research, with his works, whether paintings, sculptures that he does not cease to wonder and to ask existentially questions and fundamental gnoseologistic facts. For his outstanding artistic wark wanderings out of his native country, italy, he was deservedly awarded the prestigious prize "Italy in the world" 1998, given on 23 October last year at the Italian Center of Venezuela, where has been celebrated the event.

"The recognition-according to the Association's communication" Italy in the World-award has been assigned under the high sponsorship of the President of the Italian Republic, and under the auspices of the Presidency of the Council of Ministers and the Ministry has given Recognition to italian abroad , those Persons who through their work have honored the Italy in the world, as well as Eminent Personalities of the nation with their distinguished activities have contributed to the culture, knowledge and values of our country. "

Politano definitely loves the colors of the tropics, the world that has been built with his hands, but occasionally go because he feels the need to rejoin the memories of his childhood. Returns and finds their indelible traces between the rooms of memory, their messages, and then the heart, like that of a child, they fill with joy. In essence, the deserved success did not at all changed: Wladimiro has eyes the same look dreamy and affectionate. For this reason, above all, I love that he is one of my most dear childhood friends.

Innovative artist with just a few strokes to represent the objects and he moved in his works ,the property that is relevant for him and that the common man does not see. And so his perceptions into emotions to share with others, as a gift to the whole world.

I tried to tell the soul of an artist, his purity, his frantic search for new horizons and new inspirations. I tried to understand the inner world of an artist who has had confidence in himself and has never listened to fashion and have given the appropriate importance to a fortuitous meeting and knew how to read the signs as evidence of a divine will, now belongs to the history of contemporary art.




Wladimiro Politano
By Franco Farro. Magazine Italia, Ovunque vol 4. 2005

The surrealism of Wladimiro Politano is his dreams' transliteration. To transliterate is to write substituting the letters of an alphabet with the equivalents of another one. In fact, Wladimiro substitutes his dreams with the equivalents of his pictorial language. He does it, because when you hear him you can realize he is dreaming every night while he works everyday to set on canvas everything he remembers from the night before. When admiring his wide production based on noticeable purely geometric subjects, most of the time, it is surprising to see his capacity to perceive the miracle of life. Certainly, he is gifted in front of the gods, since not many people have the ability to "feel" like he does. The sensorial perceptions acquire an Importance, even greater, in the designing dimension and with the sight and the strong desire of touch, they liberate a possession instinct. His creations bounce from the visual pleasure to space and objects experience that enter in the sensitive and global imaginary of most advanced objects. In Polltano surrealism there is an enjoyable and sensorial amplification very close to the human body, which proposes the reading of a dream, like codes of a new empathy; primary solid geometries, multiple attached geometries and complex shapes of fascinating asymmetry. Wladimiro's chisel is blamelessly hereditary and of a genetic and personal kind; that is, for many evident artistic reasons, reflected through all his hammering on the raw material. Being him, precisely, the last one of his previous generation, Wladimiro understood art since his childhood. He learned techniques on the letter and the spirit. He reached the top by having exhibitions at art galleries of international prestige and having many collectors at the door of his studio in New York and lately in Caracas. Aestethic sculpture sometimes of great dimensions; oscillating sculpture, spectacular sculpture that deform or reduce image, a game. The elegance of a game where shape is lightning time and color at the same time; this is also art, an artistic expression not common to our current civilization. Obviously, next to his signature, there is always the medusa that captured his soul; it is not visible to the human eye because it is the art that is born from art. Because dreams translated in pictorial realities posses, in any way, a sensual component which is part of his loving life and keeps him in a constant emotional delirium. Clementina Di Ruggiero, his musa, agent and wife, is the great woman behind any great man. She is the other invisible signature, worth of merit, found in each jewel created by Wladimiro POLITANO.




Interview by journalist Desirée Depablo to the sculptor Wladimiro Politano

1.- ¿Why Politano decided to be a sculptor? When and where it is initiated?

I am a sculptor and painter but my experience was initially as sculptor. Since very young, since i was 7 years old i used to help my dad to prepare the religious figures that would conform the Birth of Baby Jesus. This it was a ritual during Christmas Season and was carried out with great love, faith and a lot of happiness because besides so happy participation there was of fund a chocolate rough sketch fragrance and candies baked that the kitchen stemmed from where my mom and family women prepared the Christmas candies. My dad Nicola Politano was restorer of religious and civil pieces of art and taught me to mold the clay, he with the time would count me about its amazement since I from boy blurred the images of the models creating my own images or ssmall sculptures like a joke -

2.- ¿How has been the experience to participate in this Symposium of Sculpture?

Very positive, to create so that any human Being can enjoy works of art and to be felt owner of them without limitations is magnificent because besides one to create artisticamente one this donating the humanity what belongs her.

3.- ¿How was the experience with the remainder of the group of artists? How was the work with her companions?

It has been very enriching all the process, since it has been developed a sense of family among all the sculptors participants. The selection was assertive, each one of us with its own language achieved a diverse and very original sculpture one of another, in its creation. In the human environment and artístc felt the desire of reciprocal contribution in all the aspects since the idéa was to carry out good public works so that All they had access to these and to us the sculptors. And it but important it is that this process SIEIM is in continuous evaluation and reconstruction with the ácceso organized of other artists margariteños, national and international, that will be incorporated with their sculptures in one of the but stunning Road Museums of the World.

4.- ¿Which has been their artistic proposal and because?

My proposal is a Sculpture executed with a single metal, solid iron painted in red color. Each sheet measures 8 millimeters of wide. The sculpture this represented by two vertical bodies that are elevated toward the sky, one they have a height of 6 meters high approximately and another body of 4 meters that is less high. Each body is conformed by 5 elements on the whole they are 10. These metallic structures have an abstract geometric forms and mathematical order that obeys to a movement of displacement and among the body but highly or upper and the lower one a condescendencia is declared. Just as could be among a governante toward their town, or between the town and their governante, situation this that only happens when it refers to a period in which the luminous forces are in emerging. The pyramidal points in the extremes of both bodies that almost joined, they represent the inexhaustible magnetism among the superior that could be the good one ruler, the wise one, their town the universal man. The interatracción can be between leader and those who are governed, between the upper thing and the lower thing, between the small thing and the large thing, between the protector and the protected, between mother and son, between man and woman in conclusion INTERATRACCIÓN AMONG THE DIVERSE THING WHERE NOT BORDERS EXIST THAT CAN EXCLUDE ONE OF THE PARTS BECAUSE they are coexisting. THE PERFECT HARMONY OF THE DIVERSE THING OF IT OPPOSED.

5.- Title of the Politano sculpture?

The title of my sculpture is “INTERATRACCIÓN “

6.- In its work carries some message to the Public?

YES. It IS THROUGH MY ARTISTIC WORk magnetism TO PENETRATE IN THE BEINGS THAT OBSERVE IT, SO THAT they can VISUALIZE IN ITS THOUGHTS AND they can DECREE THAT, YES it IS POSSIBLE THE HARMONY AMONG THE OPPOSITE, THAT YES it IS POSSIBLE FOR THE OPPOSITE TO COEXIST we ARE CAPABLE OF ELEVATING US TO THE SKY ALTHOUGH we LEAVE FROM THAT OF THE LAND. NOT TO THE DESTRUCTION OF ONE OF THE PARTS NOT TO THE EXISTENCE OF A SINGLE PART.

7.- Have you had to adapt to the material that they provided to you to make your sculpture? This brought you disadvantages and how resolvistes?

It is different to do a sculpture for a Symposium in a specific place because one must adapt to the local and existing materials the existing materials. But in case of Venezuela, they exist a great variety of materials, here there is bauxite, iron, stones, gypsum, this does that the invited artist be not found so limited as in other countried where there is limitations. In my case I used venezuelan iron and my proposal was a sculpture not complex in its execution although by its weight and monumetal size was needed a crane for raising so heavy weight. The cut of the 10 element of iron was relatively simple and precise. The workers at the Orion workshop and my partners Artists were very collaborating with me. This was also an unforgettable experience thanks to the collaboration of the Governor of Nueva Esparta State of its Coordinator Humberto Cazorla who is also artist and engineer William Ramirez who was the managing director of the whole project. Excellent experience. I am extremely thanked to all of them.

8.- ¿Did you as an Artist cover its expectations with this event? Did Its piece stay as it visualized it before doing it? This satisfied with the final result?

NOTHING IS PERFECT, ALL IS PERFECTIBLE-But has been almost perfect. In spite of the little available time and of the lack of a financial significant or necessary support on the part of the Private and Public Businesses I consider that the result has been very positive. Now it is very important the maintenance of all the sculptures that composed the Public Road Museum of Margarita Island since the environment has high nitrate and necessary financial support to the Government specific to this continuous process of maintenance.