Cesar biojo bio
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Words by Katie Farley
The oil-based portraits and human nudes constructed by contemporary artist César Biojo could inevitably translate as a beautiful decaying process – whereby he destroys to create, conjuring up a mesmerizing effect. Recovering styles of post-impressionist work, Biojo’s aesthetics capture a very personal and thought-provoking language that resonates with the spectator. Incorporating Jean Paul Sartre’s quote, “The gaze of the other makes us aware of ourselves”, his creations interpret an introspective exploration of human beings, taking into deep consideration their conflicts, their nature, and existence.
Born in Colombia, , César Biojo crafts his portraits in Barcelona, conducting visually intoxicating displays that portray a creative infusion of realism, impressionism and abstract art.
“I like to define my painting as a constant search about human nature. My painting is not about politics, race, history, my Colombian heritage or anything other than our human condition. I, therefore, find the nude to be the most direct way of approaching humans without falling into the temporal or époque narrative that clothing may connote,” vocalizes the artist about his artistic reasonings.
Each and every painting that exits his studio inescapably experiences an inno
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Cesar Biojo: Exploring the relationship of creation & destruction
Cesar Biojo is a young visual artist based in Barcelona, Spain. He creates figurative paintings with an element of damage; a kind of visual destruction that forms the basis of his artistic concept.
We asked the artist about the method behind his madness. Does the visual injury of his paintings represent something real about humanity?
“During my student years, I did all the wondering and experimentation that every student does and should do. I went through a period where I refused to paint in a figurative style because it was only a display of talent and the true form of "reality" must be something abstract to the human brain. Later, I felt that in order to study human nature, I had to use the body as a reference to address the subject.
So I went back to figurative painting, but the result of it was the very thing I wanted to avoid – a display of talent and nothing more. Being terribly frustrated with this, I ran a spatula through the painting to start it over – and the result was a phantasmagorical image of a human being that was there and at the same time, was not there. I fell in love with the idea of creating a character to later destroy it, leaving behind only evidence.
I becam
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A Fleeting Balance: the Canvas of César Biojo
Cesar Biojo, Estuche 15, check on cover, x cm,
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What exciting your keep fit of portraits and nudes that you’ve been painting?
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