The input of a personal and abstract narrative implies a journey through building an image that contains all the inscriptions and marks that overlap and reveal each other as part of the body of artwork. I let intuitive impulses guide me through the painting process listening to marks and color atmospheres I put down rather than dictate an idea onto the canvas, drawing content spontaneously that I believe will benefit and aid in the completion of a powerful image.
WORKS on paper
He started his art studies in 1995 at Julio Arraga Art School and then at Neptalí Rincón Superior Art Academy, both in Maracaibo. He continues his studies with experimentation workshops in graphic arts, art restoration, photography, cultural promotion, theater and art direction for cinema, all with great Venezuelan masters.
In his educational experience, he emphasizes his training with his mentor Víctor Fuenmayor, a semiologist, pedagogue and art critic, member of AICA with whom he collaborates and participates in the formation of International Workshops on Pedagogy in Arts, Corporal, and Literary Expression during 1998-2002.
He was a co-founder member of La Tintota Art Collective developing public art projects, art labs and collective exhibitions with the support and mentoring of art masters José Ramón Sánchez and Victor Fuenmayor. His work has been shown in national and international art exhibitions, solo art shows, important exhibitions in Belgium, Romania, Brazil, Argentina, Colombia, Peru, the Dutch Caribbean, and the United States. In 2002 he received the “Young Artist” award at the 27th National Art Salon of Aragua, Maracay.
He continues his artistic practices with graphic artist and sculptor Maria Bonomi as a collaborator in large-scale public art projects in São Paulo, Brazil. During his residence in Brazil 2004-2006, he took Lithography training with the master printer Roberto Gyarf.
Since 2006 he has been living and working in Miami, Florida, where he opens the Art Studio Triphope Gallery together with artist Lisu Vega and is part of the North American cultural scene with participation in collective and individual art projects as well as his active collaboration with VAEA Venezuelan-American Endowment for the Art, New York-Miami.
Latest mayor solo exhibition “Gozo Solo” at the Museum of Contemporary Art in Zulia, MACZUL, Maracaibo, and in D’Museo at the Los Galpones Art Center, Caracas, Venezuela.
He is currently a represented artist of D’Museo in Caracas-Venezuela participating with them in International Art Fairs such as Art Lima in Peru and Barcú in Colombia. Also represented by Bag Art Gallery in Houston-TX and Rebeka Jacob Gallery, Charleston-SC
RUPTURE OF THE ENJOYMENT IN THE LOOK.
With the main title and with each of his works, the artist Juan Henríquez guides us to look at two determinations of creation: solitude and enjoyment. Within the artistic game that brings together creator and spectator, enjoyment introduces the ancient Greek term of aesthesis as a pleasant connector dynamism that gathers the process of emission and reception of the work.
I can translate Greek aesthesis to what contemporary French semiologist Roland Barthes calls “punctum” associating it with a touch that comes to the reader through the signifiers since it is a fragment of the work that leaves its space towards the viewer to touch or hurt their sensitivity.
This time I am not the one who is going to look for him (…), it is him who comes out of the scene like an arrow and comes to punish me. The punctum (…) is that chance in which it touches me (but that also hurts me, punctures me).
(BARTHES, Roland, 1990, The Lucid Camera, p 64-65).
When I speak of the game I mean the elaboration of the significant form that implies all poetic and artistic action in working with the materiality of languages: lines, colors, the energy of the stroke. In this imaginary zone of the pictorial materiality that touches the creator and the spectator, we can highlight a point of union or enjoyment, not obvious, in the works of Juan Henríquez that interweaves between the body, images and signs that we will call “Punctum” of pictorial anagrams – as a game of significant fusion of diverse languages – which can mislead at the beginning, before the reader understands the rules of the game by the author who consciously or unconsciously, establishes connections between the body of enjoyment and visual forms and Literals involving bridges between the linguistic imaginary of letters and pictorial images.
Every joyous act contains its shadow and as you can see by the use of black color (contrasting with celestial, blue, gray, white, red), in the agitations of pictorial gesture to tell us something of that juncture of purity and impurity, sublimation and perversion, which can accommodate the aesthetic space of enjoyment. In those everyday subjects where the artist does not abandon the aesthetic symbolization or forget the more obscure or hidden acts of corporeity, the reader has to release his imagination until he can feel the joy of this diversity of materials, pictorial techniques and that body path of erotic figuration.
A simple illustration of what unites the pictorial signifier of figuration to the desired object and to a desiring body can be seen in The Table whose abstraction leads it to seek meaning in a hybrid figure: drawing a green angle with thick strokes (Table of enjoyment?) and an oval and white shape with a thick point similar to a nipple (oral libido projected to an object?) Green linear corner maybe the signifier A simple illustration of what unites the pictorial signifier of figuration to verde warns us of something cornered of the not evident sense that must to see in the linguistic signifier that names color, since it occurs in the forbidden view of enjoyment that that white oval that ends at a point is the term of a breast desired
International Association of Art Critic Member