Staccato pulses of rhythmic vibration never escaped Alejandro Otero’s mathematical mind, long after his first visit to Holland in 1951 to study the neoplastic qualities of Piet Mondrian’s canvases and architectural style, soon absorbed into Venezuelan and Parisian universes. Chronologically ignited by this key moment, Otero afterwards worked prolifically through the geometrical possibilities of chromatic spectra in his series Coloritmos, paintings with thin bars of black and color against white backgrounds that explored the synthetic potential of kineticism and concretism with serial typology. Particularly embodying the magnetism of his Lineas Coloreadas sobre Fondo Blanco group, this tectonic collage with paper facets on wood conceived later, moreover distills the essence of his exposure in Europe to Nouveau Realism and assemblage, directly visible for example in the work of Jean Tinguely, blended with a mature-career take on the Caracas avant-garde. Carrying forward his experience in France with the Venezuelan journal Los Disidentes, that critiqued western academicism sweeping over significant, creative generation, Otero taught in Caracas and along with his wife Mercedes Pardo, a fellow informalist painter, he visited the home of Elsa Gramcko where intelligentsia cultural threads burgeoned in evening salons.

Again in Paris during the 1960s, he found limited studio space, and forced to expand his approach to media, began working with a newfound breadth of materials that captured his conceptual intentions broadly. Charging downwards like Soto or Cruz-Diez-esque, hued rainfall, here with structural sparsity and linear strength accentuating the impact of its colorful movement, the present composition amalgamates these transnational dynamics, with unmistakable energy foreseeing the success of his subsequent 1985 retrospective at the Museo de Arte Contemporáneo de Caracas Sofia Imber. Selected public collections include: Coleccion Patricia Phelps de Cisneros, New York; the Museum of Fine Arts, Dallas; The Museum of Modern Art, New York; the Museum of Modern Art of Latin America, OEA, Washington; and the Museo de Bellas Artes, Caracas; among many others.

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