EMOTIONAL GEOMETRIES

About

Riveros has returned to his sketches made in Germany four decades ago—many of them drawn with pencil on small pieces of paper and cardboard—to continue exploring the essence of painting. From these sketches he continues to work incessantly with, in his own words, “ruler and compass,” to return to a pure and concrete abstraction that looks fresher than ever today. Riveros “reappears” at a time when the historical revision of Latin American art, and its diffusion through exhibitions and publications, is increasingly present in the United States and Europe. We then find an artist that has been, and is, in a sustained and active dialogue with abstraction understood as an international language. In the case of Riveros, he is linked to European predecessors—Albers, Klee, Kandinsky, El Lissitsky—and influenced by his South American roots as well as the members of his generation—Rojas, Ssyzlo, Ramírez Villamizar. The artist affinity with today’s aesthetic sensibilities, the current interests and tastes, is recognizable, because through direct and simple statements, and at his 84 years, he has always practice the art of painting as a defense of reason, a meditative tool, a platform for spiritual elevation and a defense against the weaknesses of the human being.     .