The paintings of Allan Villavicencio have a mysterious part of showing what is hidden, of revealing the impalpable. With subtle articulations of layers and reflections, his proposal for DESPLIEGUES takes us to the root of the mental and visual effects that the pictorial can have our daily life. His gesture is not limited to the edge of the image on the canvas, but instead seeks its expansion and the specific waste of the pictorial act.

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Thus, the works are saturated with the life of its author, who plays with the immediate experience of his environment. In genuine contradiction between accumulation and excavation, Villavicencio creates and erases at the same time to unveil a metaphysical double scale: the presence of the hole in conjunction with its representation as a hollow. What looks like destruction has the power to restore what is hidden to make it visible.

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Villavicencio opens the canons of beauty and manages to translate a different pictorial order, confirming that the neutrality of white space goes hand in hand with its antagonists to reveal itself. Painting refers to its own conditions of existence: dispersion, as well as fractured and flexible temporalities.