Art work sample

Ruben D'hers

El Secreto


Sofa-Fleisch

Desayuno

Cafecito-Niple

Silla pata-cabra con vaso derramado

Vapor e Higiene

Nube Baja

Education:

2000 Graduate in Fine Arts in Painting and Drawing in the " Cristóbal
Rojas Visual Arts School ".
Professional Internship in the Felix Perdomo Plastic Arts Workshop.

Exhibitions:

2002 Participation in Painting in the " Luis Alfredo Lopez Mendez "Arts
Prize, Caracas.
2001 Participation in Painting in the Phillips Art Prize for Talented Youths,
" Tamanaco Gallery ", Hotel Tamanaco, Caracas.
2001 Second PROARTE Contemporary Arts Festival Concert, Caracas.
2001 Selected in the Drawing Mention for the " Juan Lovera " Municipal
Prize in Visual Arts, Caracas.
2001 Finalist in the selection of the representative student for the Cristobal Rojas Institution in the Iberoamerican Workshop Exhibition, Caracas.
2001 Selected for the Drawing Mention in the V Biannual Event of Plastic
Arts in Puerto la Cruz, Homage to Perán Herminy.
2000 Collective Painting in the Venezuelan Association of Plastic Artist,
Caracas.
2000 Collective Painting Exhibition in the " Raul Leoni Library", Caracas.
1999 Drawing Collective Exhibition, " Spiral Gallery ", " Cristobal Rojas
Art School, Caracas.

Awards and Recognitions:

2001 Honorary Mention, for the Venezuelan Association of Plastic Arts (AVAP), Comité Nacional de la Association Internationale Des Arts Plastiques-AIAP UNESCO.

Analysis about Symbolic Elements by Ruben D'hers:

"Artistically speaking, I lived my first experiences from drawing. "The Figurative" has left me a great influence at the time when I'm approaching or developing an artwork. The drawing experience has been for me almost the most essential. Mainly because to draw made me feel compelled to solve a composition just by taking and using that resources which were around me at the right moment, including the place that I occupied to draw".

"That place where one lives or works each day, seems to never change. Sometimes we don't realize everything changes in all senses, even materially. I have been paying attention to those little changes that happen in certain spaces where a man takes possession and this becomes a possible inspiration to produce art".

"Usually I like to use objects as models to paint by choosing them from my physical context. This environment that I'm proposing could be my work room, my home, my locality. In this sense I've been looking into a possible "Objects Speech" -objects of domestic use like forks, teaspoons, dolls, tea-pots, scissors, chairs, couches - so, to discover their "Mysticism". Together these elements there are others ones which has an organic appearance visually speaking, like body arms, severed pieces and remains without recognizable form. Despite this "Carnal Allegory" is pointing at "The Organic", I try to make them seem like "Common Objects". Giving judgement between " The Man and his Environment ".

"By contrast, I try that the common objects- which I've mentioned- reach a living appearance, which are composed of heterogeneous parts able to stimulate a particular meaning on the artist and viewer, therefore, can talk about "a Human Presence in Absence". These elements are repeated throughout my work, giving birth to new meanings each time they are freshly juxtaposed".

"This proposal tries to provoke a dialogue or speech among these objects with the goal to generate questions about the relationship between "The man and his physical-spiritual context ". I attempt to make them "Provocation Objects" that free of utility connotations and picking them out by a casual way they create a fantasy world being attractive inside of their associative possibilities".

"There are two determinative moments, one of these, is "The Objects Extraction" from its "Habitual Context " through "The Elective Gesture". The act of choosing objects as models provide them a concentrated expression, and the other one is "The Way of Presentation" to enlarge its "Semantic Virtuality".

"This is a figurative work where the object is shown with its specific qualities over the bottom of the canvas where ornaments and transparences are as important as the figure is. Ornaments which evidences my influence from drawing. All this definitively suggest an interpretation that is supported by the relationship of an "Abstract Idea and a Figurative Presence". That is the modification of "The Ordinary" to elevate it to "The Sublime" as part of a conceptual proposition".