Paolo Vigo (Trujillo, 1980)

Among the varied work of artists from Trujillo settled in the capital, the works of Paolo Vigo have their own peculiar and unmistakable calligraphy. From the pictorial school of his hometown comes the caravan of ambiguous, hybrid, fragmentary and re-assembled characters, wrapped in a selective sfumato, at times subtle and delicate, at times dissonant and corrosive, which reveals some details and hides others that are inconsequential. The restless spirit of Lima contributed to the expressive universe of Paolo. His desire for unbridled technical experimentation, a swirling that goes on absorbing textures, volumes and readymade elements, together with incrustations of traditional drawing. Many of his paintings cease to be pictures in the strict sense and become objects for tactile perception as well as visual. His symbolic and metaphorical repertoire almost always revolves around the human being and his existential musings. The central figure, which transits from frame to frame, is an indefinite and androgynous character, with multiple faces and a single observer eye, that intermittently takes on masculine or feminine forms, a species of the archetypal humanoid, a mannequin-model, that sometimes allows a glimpse to the contents of its mind, its fears, fantasies and affections.