Salazar approached Kinetic Art from a very personal point of view: the point of view of light. Light acts on his work in two ways: through the use of pure white as support and “argument” of the work, and through the consequences of natural light —or the artificial kind, in the exhibition space— as it acts on the pictorial surface.
Francisco Salazar (b. Quiriquire, Venezuela 1937 - d. Paris, France 2019) embarked on his artistic journey after enrolling in Architecture at the Central University of Venezuela. His initial studies sparked a fascination with spatial relationships and pure forms, leading him to carve his own path in Kinetic Art during the late nineteen-sixties. His focus centered on luminous and optical phenomena, exploring ruptures and continuities in space that profoundly impacted the perception of spectators.
Salazar's choice of corrugated carton as a primary material allowed him to create tridimensional reticular patterns, forming the foundation of his work. Through painting and the use of relief produced by cutting the carton, he skillfully generated interplays with light, transforming them into Kinetic dynamics akin to vibrations perceived by the viewer. The diverse interactions among shadows, the repetition of patterns, and the spatial context of the artwork translated into virtual movements grounded in abstraction.
In his pursuit, the artist aimed to accentuate the connections between the concepts of empty and full space. Salazar's inclination towards monochromatism arose from the necessity to precisely modulate light, enabling the radical differentiation of both types of space while harmoniously bringing them together.