The body in movement

The third line is a lifelong interest in the human figure in motion, and in what the position of a body tells you about the state of the person inside it. The device is almost always the same: one continuous line, drawn without lifting, in gold or cream or copper on a flat ultramarine ground.

Drawn that way, a figure is fast, light and slightly comic — until it isn't. In 2024 the same line produced Torture Studies, Never Forget, History Will Remember and Venezuela. In Never Forget the figures are set in a grid of cells; read down the rows, they go from standing to kneeling to prone. In History Will Remember they are scattered across the blue with empty rectangles between them, and the empty rectangles are the point.

These are paintings about Venezuela, and about what has happened to Venezuelans, made by someone who left. They are exact, patient and beautifully made, which is what makes them hard to look away from.

Alongside them sit the works that carry the same subject more lightly — the suitcase in Emigration, whose title is an old Venezuelan joke about leaving with nothing, and the dog and the flower drawn in one line on a field of yellow.