The beginnings of Lofranco’s pieces for his forthcoming exhibition The One the Morning After are realist representations of objects overlaid with linear scribbles from a 2012 exhibition. They soon morphed into images of objects that while rendered realistically were distorted by the rhythmical undulations of ground. The latter Lofranco achieved by folding the surface where the image resides.
For his current pieces, Lofranco succeeds to combine two seemingly opposed impulses: those of spontaneity and structure. He combines the visual language of abstraction which he regards nearly random with the precision of folding surface into tiles. This results into colours and nearly indeterminable forms simultaneously emerging and concealed within folds, corners and ridges. We are invited to seek out patterns, discern relays in forms, and make out wholes from fragments. There is clear awareness of the tensions that adhere to subject, pictorial space and spatial volume.
Lofranco’s works are abstract paintings on folded paper. All appear to have the qualities of relief sculpture. While the artist begins with the spontaneity of abstract brush work, he proceeds to engage in the obverse impulse. Echoing the exhibition title The One the Morning After, the engagement with structure takes place the day after the abstract paintings are done. The following day, Lofranco folds the paper on which the paintings were made using modes of tessellation, pleating, corrugation and origami.
Across the folds of time (as the process requires the passing of a day), the artist explores the shifts between randomness and structure, spontaneity and precision. He reconfigures not only the spectrum of artistic styles but the relationships conjured between surface and volume. We discern Lofranco’s interest in the visual, especially in the perception of image as it floats or become confined within the bounds of volume and flatness. In The One the Morning After, Lofranco affirms his immersion in the act of making, one shaped by process and unfolding. His interest in the dynamism that makes visual experience is ferried through contrasts between techniques and style, expansion and shrinkage, mobility and confinement.
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