The Renaissance Society presented a solo exhibition of Arturo Herrera's work from January 11 through February 22, 1998. Associate Curator and Director of Education Hamza Walker wrote at the time:
"Using art historical hindsight, Herrera's work can be read as Surrealism's alternate path, one made possible only after the advent of minimal and conceptual art. But the lack of a narrative, let alone urgent or expressive element in Herrera's work, as well as his slightly off-kilter, ready-made strategy, places him firmly within the conceptual movement. Granted this, describing his work as a representation of the unconscious in its encrypted state is perhaps too strong an assertion. Herrera's work instead represents the idea of an unconscious. If his sensibility is any indication, then there is little to fear from the analyst's couch. Should sessions be conducted in a tone similar to Herrera's work, the river of rage and tears produced by delving into the psyche's recesses would be transformed into the comforting ebb and flow of a thoughtful, gentle trauma."
Image rights: The Renaissance Society
About Arturo Herrera
Known for his intricate and evocative abstract compositions, Arturo Herrera’s frenetic, interlacing forms echo both the sinuous tangles of Jackson Pollock and the Analytic Cubism of Pablo Picasso. Herrera works in mixed media, painting (on a variety of supports), sculpture, and collage—he has attributed his interest in the latter to its being a democratic medium requiring only scissors, paper, and glue, and little studio space. Herrera has more recently turned to painting directly on gallery walls, creating large-scale compositions of wandering biomorphic imagery. He also works in felt, cutting the soft material into shapes resembling the forms in his paintings and installing them in wall-mounted reliefs, blurring traditional boundaries between two- and three-dimensional artwork.
Venezuelan, b. 1959, Caracas, Venezuela, based in New York and Berlin, Germany