The interviewers delve into Régulo Pérez’s work and the artist offers them a brief description of his artwork, referring to the number of works he produces each year and expressing his opinion on the salons, admitting to their importance in observing artistic developments and the opportunity they create for acquiring parameters and criteria for creating significant works. Pérez also speaks of his last exhibition in New York and comments on his personal collection, his plans for the future, his method of composition, describing himself foremost as an “illustrator.” 

Berna Parra, María Eugenia Sánchez, and Margarita Villarroel conduct an open-ended interview with Régulo Pérez (b. 1929), which allows the artist to express himself with simplicity. The opportunity to know his thoughts on salons is important because it stimulates participation in these events by arguing that through them one may observe the development of artwork as it evolves in significance. The Venezuelan artist also comments on his new projects; among these, his plans to paint “landscapes of the Orinoco Delta, Puerto Ayacucho, Los Pijiguaos,” in which he plans to include “portraits of strange characters.” The interview likewise offers a description in the artist’s own voice of how he composes his paintings, which he defines as “illustrations.” 

With respect to Pérez’s work, see in the ICAA digital archive the texts by Rafael Pineda “Régulo y el eje Orinoco ? Pintura” (doc. no. 1154220), and “Naturaleza y cultura” (original text taken from the catalogue “Régulo en Acquavella,” Caracas, 1981) (doc. no. 1154268); the essay by Bélgica Rodríguez “Régulo: un nuevo lenguaje” (doc. no. 1157776); the text by Roberto Guevara “Régulo y la cultura visual” (doc. no. 1157759); the essay by Carlos Yusti “Régulo Pérez o la múltiple actividad creadora” (doc. no. 1154156); the analysis by Jesús Sanoja Hernández “Prólogo serio para el más serio de nuestros humoristas” (doc. no. 1154188); the text by Mingui Betancourt “Pinto vampiros porque no sé pintar flores” (doc. no. 1157808); and finally, the partial chronology by Ivette Villarreal “La salvación por la imagen” (doc. no. 1154300).