The title of this exhibition of recent paintings by Loriel Beltrán, Constructed Color, suggests its main theme. The artist constructs each work from distinct strips of congealed chroma, the result of pouring latex paint in boxes, where it hardens into a block that is cut out in bands to be arranged, either horizontally or vertically, on the work’s support. The paintings thus register as stacked structures, assemblages, or objects. But viewers also perceive the objecthood of the works as an intangible field, as it dissolves in the strictly optical admixture of the hues of each strip. This contradiction between object and opticality constitutes only one of the works’ paradoxes. We might also add the observation that a serial logic dictates the sequence of the latex bands, yet it is compromised by the material’s pliability; conversely, the pliable quality of the bands lends the works an organic appearance, yet such a reference becomes legible within structures whose methodical arrangement bespeaks a procedural and archival condition.
Beltrán uses such contradictions to create a tension-filled space within which he posits and explores possible modes for contemporary painting. His works hearken back to historical references, such as Gerhard Richter and Carlos Cruz-Diez, both of whom contrasted the construction of color to vision’s physiological and psychological subjectiveness. Yet it is Constructivism’s legacy—its disposition to conceive vision in terms of the object and the object in visual terms—that Beltrán’s recent production revisits and redirects. For color, to use the artist’s words, here oscillates between a “mediated” or visual and a “primary” or physical status; constructed color affirms itself both as an optical event and as a structured material that can only belong within the realm of things.
Born in Caracas, Venezuela, in 1985, Loriel Beltrán moved at age fifteen to Miami. He earned his BFA from the New World School of the Arts. Beltrán’s work has been included in exhibitions at the Perez Art Museum Miami; the Institute of Contemporary Art, Miami; the Museo de Arte Acarigua-Araure in Venezuela; and the Fabric Workshop and Museum in Philadelphia, and he has had solo exhibitions at the Wolfsonian Museum Bridge Tender’s house, Central Fine, and the non-profit Locust Projects in Miami. Beltran was also a co-founder and co-director of the artist run gallery and collective Noguchi Breton (formerly GUCCIVUITTON).
Loriel Beltran: Constructed Color inaugurates MOAD Projects, a new series of exhibitions that features work by Miami-based artists, including distinguished Miami Dade College and New World School of the Arts alumni and faculty. MOAD Projects provides a platform for local artists to realize new projects or exhibit recent bodies of work, as well as for investigations of understudied historical developments in Miami’s cultural past. MOAD Projects expands upon the swing/SPACE/Miami alumni exhibition series that began in 2013.
This exhibition is curated by Rina Carvajal, MOAD's Executive Director and Chief Curator, and is made possible by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; and the State of Florida, Department of State, Division of Arts and Culture, and the Florida Council on Arts and Culture.