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[In this text], critic Roberto Guevara analyzes the work of Régulo Pérez. In his analysis, Guevara compares the artistic process of this Venezuelan artist with that of Jacobo Borges; this process began vehemently and crudely, but once his urgency subsided, it produced “el lenguaje resuelto y pleno” [a determined and full language]. The author also defines Régulo as someone who is opposed to conventionalisms; a flexibility of creative processes and methods characterizes his work. He operates under the premise that communication is fundamental to the critical interpretation that facilitates an awakening of the viewer’s awareness. Guevara also points out the importance of color and the integration of different expressive elements in his most recent paintings, as well as the changes that occurred in his earlier drawing work. 


For the exhibition of work by Régulo Pérez, Flores y pájaros, montañas y ríos [Flowers, Birds, Mountains, and Rivers,] held at the Galería Acquavella in 1981, Roberto Guevara (1932–1998) interprets [the artist’s] work as an optimistic vision of what the future will bring. Although he describes his work at that time as unfinished and “pendiente de una gran decision” [awaiting a major decision], he asserts that Régulo “se aproxima al genesis” [is approaching the genesis] of new and more solid work, and will therefore contribute to the visual culture. The author makes use of his knowledge of Jacobo Borges’s artistic process to establish illustrative comparisons that shed light on Régulo’s potential. At the same time, Guevara describes in detail the techniques used by Régulo [to produce] his new work, such as an attachment to global images, chromatic solutions, and the integration of parts into a totality. Guevara emphasizes the novelty of the creative process used in the “pintura sobre tela” [painting on canvas] wherein baroque touches disappear in favor of the immediacy of expressive elements and the materials used.  In this sense, the text represents a considerable and complementary contribution to the essay in the exhibition catalogue written by Rafael Pineda [see the ICAA digital archive: “Naturaleza y cultura” [Nature and Culture], 1981 (doc. no. 1154268) it centers on the conceptual and thematic aspects of the works presented in the show, as well as the evolution of Régulo’s work. Nevertheless, it leaves out formal and technical elements described by Guevara that offer a more concrete panorama of his work.


With respect to the work of Régulo Pérez see: the text by Víctor Guédez, “La protesta vehemente y el sentimiento líricio en Régulo Pérez” [Vehement Protest and Lyrical Emotion in Régulo Pérez] (doc. no. 1154204); the text by Rafael Pineda, “Régulo y el eje Orinoco–Pintura” [Régulo and the Orinoco Axis–Painting] (doc. no. 1154220); and the text by Bélgica Rodríguez, “Un nuevo lenguaje” [A New Language] (doc. no. 1157776).


Text by Carlos Yusti, “Régulo Pérez o la multiple actividad creadora” [Régulo Pérez and Multiple Creative Activity] (doc. no. 1154156); the analysis of Jesús Sanoja Hernández, “Prólogo serio para el más serio de nuestros humoristas” [Earnest Prologue for the Most Earnest of Our Humorists] (doc. no. 1154188); the text by Mingui Betancourt, “Pinto vampiros porque no sé pintar flores” [I Paint Vampires Because I Do Not Know How to Paint Flowers] (doc. no. 1157808); Berna Parra’s interview, “Conversando con Régulo Pérez: Entrevistado por Berna Parra, María Eugenia Sánchez, and Margarita Villarroel” [Talking with Régulo Pérez: Interviewed by Berna Parra, María Eugenia Sánchez ,and Margarita Villarroel] (doc. no. 1154236); and the partial chronology by Ivetta Villareal, “La salvación por la imagen” [Salvation by Image] (doc. no. 1154300).

Lizette Alvarez Ayesteran
Fundación Mercantil, Caracas, Venezuela
Roberto Guevara, 1981