Los Espacios del Sueño

The barren surfaces, the white of paper or wood, are a primordial element in the works of Mario Londoño. They operate for him as dictation for his forms, for compositions that respect air, silence. The burden of silence in his painting, the muted tone with which he tells of an analogical world of the essential, like an anti-baroquism that allows a simple reading even within the complexity of his atmospheres. A sunlit solitude whose oneiric weight captures us — in Londoño's paintings, most of them made with acrylic on wood, static figures, or figures isolated in a plastic monologue, appear summoned for a staging of the absurd, which by the art of his brush cease to be absurd and settle into the everyday fact. In truth, is there anything more everyday than the absurd and its constant metaphorization of the impossible?

Mario Londoño's painting, from its beginnings in the "magical easel" of which the Rimbaudian phrase speaks, from its point of departure in the Taller de Artes de Medellín, has been shedding its baggage to deliver to us these figures of balsa-wood lightness in a desolate landscape, as if we were revisiting a forgotten or unknown memory. For this, it is enough to step down from the stationary bicycle of the senses, to lean into the paintings of this young artist as into windows onto the dream.