If I had to give an account of this exhibition A,B,C, I would have to not only evoke the influences of 20th century abstraction – where I was particularly impressed by the Russian movement at the beginning of the century and the American artists of the 70s – but that would need to try to convey to them the non-linear moment in which it is situated. In this last work, antagonisms, counterpoints and resistances are intermingled and distinguished. Questions about the structure, support and technique appear in the foreground with respect to my previous work, which above all insisted on undulations. Formal opposition, which however starts respecting the chromaticism that it had previously reached, as well as the power of the metal, but which will mutate, to ultimately reach something beyond the chromatic circle. In A, I start from constructions, from previous schemes or sketches that I arrive at once I have managed to submit to a space devoid of visual stimuli. Clean view of the horizon of the River Plate that allows me a sought-after disconnection. State from which the plot, the script or script that I will follow emerges. But this construction, this pattern, is only there as a pretext. Since it is his downfall, the irreverence or lack of respect for himself, that will give way to what will really appear as a production. In fact, it is these openings and gaps of irreverence that lead me to B, which is already a return to the warmth of the canvas and the freedom of the brushstrokes released from a preliminary sketch. Loose work, which no longer follows directions, which dispenses with discipline. In C, there is already a kind of inversion and new formal counterpoint, which however returns to the idea of ​​the previous sketch based on a visual calm, of the bracketing of the visual stimuli. Return to the river… to be able to address those states of saturation and air that are becoming distinguished, but now from another tune, from a dynamism where cuts and movement allow islands, shapes, continents to appear. Making the obverse of those previous paths emerge, which will finally be channeled between heterogeneous territories. At the same time, I delve into a task that allows me to release color to explore the gradation and degradation of monochrome. Offering us a well-deserved retinal rest, entering the labyrinth of my new production. A,B,C It appears to me as an ironic response to all the modes, to all the trials… giving rise to a randomly patterned game, of uncertain outcome, but that touches on the flow of the states of matter and its support. Personal abstraction, which is no longer referred to the work and its influences, but rather to my own entity and its times. This is perhaps why there is something of familiarity that comes from it for me, and that I see it simultaneously as an inheritance, as a recreation of my link with the visual arts.  

Pablo Lozano Shows A,B,C for PRAXIS Gallery Buenos Aires, June 2016