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27.56 x 39.37 in
Painting
19.69 x 27.56 in
Painting
39.37 x 27.56 in
Painting
19.69 x 27.56 in
Painting
27.56 x 39.37 in
Painting
19.69 x 27.56 in
Painting
27.56 x 39.37 in
Painting
27.56 x 39.37 in
Painting
27.56 x 39.37 in
Painting
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Colombia

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Biography

Born in Medellin (Colombia) on June 9, 1960.
* 1971-1978 Studied with teachers Jorge Cardenas, Marco Tulio Castillo.
* Institute of Fine Arts 1980-1983. Pereira.
* 1984-1986 Workshop naked. Museo de Antioquia.
* Has participated in numerous rooms of Art and exhibitions and has performed 16 solo exhibitions.
* Your work with surrealist tendency in: Museo Casa de la Convention, Rionegro. Municipal Administration Rionegro. Marinilla City Council. Children for...

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Born in Medellin (Colombia) on June 9, 1960.
* 1971-1978 Studied with teachers Jorge Cardenas, Marco Tulio Castillo.
* Institute of Fine Arts 1980-1983. Pereira.
* 1984-1986 Workshop naked. Museo de Antioquia.
* Has participated in numerous rooms of Art and exhibitions and has performed 16 solo exhibitions.
* Your work with surrealist tendency in: Museo Casa de la Convention, Rionegro. Municipal Administration Rionegro. Marinilla City Council. Children for Peace Foundation, INFAPAZ. Nestor Foundation Sanin Arbelaez. Department Assembly of Antioquia ... Also in private collections.
* Currently resides in the city of Marinilla.
* Phone: 311 317 51 28 Fixed: 569 in June 1993.






POEMA VISUAL
Painting natural course, is the work of Jesus Alberto Arbelaez Arce, PULL.
Outside formal mental speculations and the paraphernalia and the artificial brightness of the fashion trends.
His pictorial work is a visual poem, full of life, light and especially color.
Gabriel Aguirre Posada
Gallery owner and art critic






THE LOOK OF PULL
There is a JALARIANO universe which, like an iceberg, it is likely that many have referred to or just sit and admire highlighted that part visible on the same surface where it develops the happening of the things "normal"-the day our daily bread, the ... basic everyday need - and the actions of men and women who leave their footprints in the sand, skin and soul, and with them, everything that could range in the middle of antinomy goodness-badness and, ultimately, realize the human condition.

The gaze of Jesus Alberto Arbelaez Arce, Pull, is there, on the surface of his own world and into that of a casual observer, but in reality is preceded and followed by another look and intent that goes beyond formal or texture the usual stereotypes that are intended to record something, paying attention only to an objective test-result and look-and courtesy no other discerning mind although some ignored the glimpse.

In the artistic work has two conjugations Pull impress their universal: the profound sensitivity of the operator, with its unfathomable look inside and the 'burden' unpredictability of their subjectivities, and human eyes can not ignore the daily reality with its cultural and media mayhem that has become the global village with its incessant tears, their values are lost or disrupted and pain and injustice everywhere walking free. And after those, the fund and the permeate is to show, not just the tip of the iceberg, but also the huge block behind, with their tangible and intangible, subliminal if you will, permeating the senses or wounding with "suggestion" not so subtle or forceful expression, clear and uncompromising that translates a cry and a universal desire.

At the altar, representing an ancient atavistic pictorial tradition, Jesus Alberto Arbelaez Arce, Pull prints with a modern sense the recursion plastic-rather than paying homage to the wood-speaking, in another magical and unique fusion of man 'doer' and tending nature, always!, into eternity. And in them, forming a series that transcends religious icon, Christ, with its human embodiment and its divine aura, remember their sacrifice and love that summarize all the values and virtues that are encrypted and the only hope and genuine possibility of a new dawn for mankind.

Brightness, as this time is called exposure, more than a feast for the senses, is also an invitation to reflect, through the play of colors of Pythia, the absolute explosion of color with its combination of poetic forms distributed as in Simon's quest for freedom and transcendence in the universe, and the pain, loneliness and abandonment of uprooting a full moon or Mary of the cats.

Hernando Javier R. Rodriguez

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