This essay by the Venezuelan critic and curator Roberto Guevara (1932–98) mainly focuses on the role played by Adrián Pujol (b. 1948) in the Venezuelan visual arts from 1975 to the time of his Exposición Antológica twenty years later. Guevara waxes poetic as he reviews Pujol’s career, explaining that every time the latter re-thinks his work he displays his endlessly creative approach to landscape painting. Pujol goes beyond painting to use drawing, ceramics, printmaking, sculpture, and installation in a quest for visual solutions to problems of time, memory and space that show how he has evolved. In Guevara’s opinion, this process stems from Pujol’s integrity as he conceptually and sensitively transforms what he sees at close range (in large-scale photorealist close-ups), thus crossing the threshold of the labyrinth and finally opening up to a freer, more emotional approach to the natural world.
This essay is an important review of Pujol’s neo-landscape painting, which includes discussion on his painting career from 1975 to 1995. In the exhibition catalogue, the historian, curator, and critic Axel Stein offers his own view of this same artist’s work in his essay “Pujol en el paisaje venezolano” . To read another critical essay written by Roberto Guevara on Pujol’s work, see “Pujol y lo cotidiano desconocido” .