Valeria Vilar

El Placer de lo bueno (Montaña), 2021

Acrylic and chalk on paper

59h x 51w in

VV063

Valeria Vilar

El Placer de lo bueno (Corona), 2021

Acrylic and chalk on paper

59h x 51w in

VV064

Valeria Vilar

El Placer de lo bueno (Alas), 2021

Acrylic and chalk on paper

59h x 51w in

VV065

Valeria Vilar

Disfraz B, 2020

Mixed Media on paper

12h x 9w in

VV059

Valeria Vilar

Cuando soy pajaro y toco el piano, 2020

Mixed Media on paper

12h x 9w in

VV058

Valeria Vilar

Le diable 9, 2020

Mixed Media on paper

12h x 9w in

VV056

Valeria Vilar

Le diable 2,1, 2020

Mixed Media on paper

12h x 9w in

VV054

Valeria Vilar

Bosque (Triptych) III, 2018

Acrylic on metallized polyester sheet

27.50h x 19.60w in

VV043

Valeria Vilar

Bosque (Triptych) II, 2018

Acrylic on metallized polyester sheet

unframed

VV042

Valeria Vilar

Bosque (Triptych) I, 2018

Acrylic on metallized polyester sheet

unframed

VV041

Valeria Vilar

Otoño Blanco, 2016

Acrylic and chalk on paper

27.50h x 39.30w in

VV028

Valeria Vilar

El Placer de lo bueno (Montaña), 2021

Acrylic and chalk on paper

59h x 51w in

VV063

Valeria Vilar

El Placer de lo bueno (Corona), 2021

Acrylic and chalk on paper

59h x 51w in

VV064

Valeria Vilar

El Placer de lo bueno (Alas), 2021

Acrylic and chalk on paper

59h x 51w in

VV065

Valeria Vilar

Disfraz B, 2020

Mixed Media on paper

12h x 9w in

VV059

Eduardo Hoffmann

Untitled #4164, 2018

Mixed media on canvas

79h x 51w in

EH019

Eduardo Hoffmann

Untitled #4200, 2018

Mixed media on canvas

77.95h x 51.97w in

EH020

Eduardo Hoffmann

Untitled #4075, 2018

Mixed media on canvas

51.18h x 37.80w in

EH018

Eduardo Hoffmann

Untitled, 2018

60.63h x 36.22w in

EH017

Eduardo Hoffmann

Untitled #4041, 2018

77.95h x 51.97w in

EH016

Eduardo Hoffmann

4084, 2018

77.56h x 51.57w in

EH010

Traces: Eduardo Hoffmann & Valeria Vilar

September 20 – October 30, 2021

Valeria Vilar’s lush application of colorful paint and chalk on paper weave between figuration and abstraction to engage her audience in a playful back-and-forth between realities. On the one hand, Vilar’s fairy-tail landscapes lend a glimpse into her art making process inspired by memories and images of tales, dreams, and recondite places of imagination. On the other, her work and its intent can just as easily disappear to leave a space for the reconstruction of each spectator, freeing his or her imagination to complete the story.

Hoffmann plays with simultaneity, superimposition, and ambiguity in his work brushstroke after brushstroke.  The artist sets out to entice a dialogue with his audience only to let personal emotion arising from the work lead his mark making. Over time, each compositional element becomes harmonious to complete the whole.

In conversation with one another, both Hoffmann and Vilar have created a fantastic world of energy and color that indulges the imagination with a glimpse into their own. In turn, viewers become part of the artists’ interior dialogue as the opportunity to share feelings, thoughts, and ideas connect one another like pieces of the same puzzle. The experience of such intimate communication builds upon the notion that personal dialogue ultimately informs universal concepts more directly than we could ever imagine.