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The painting and sculpture project “METAMORPHOSIS” by Peter Lara arose from how he imagines and how he experiences what happens to him, in addition to how he imagines what could happen to him. In this health context he stopped to reflect on the new meaning of the social contract in which we currently live, for which he builds these works that can express his responses to these complex dimensions of our humanity.

Pieces that interpret how the human is becoming inhuman since with the passage of time they reveal how we have separated ourselves even further and distanced ourselves from practices such as empathy, generosity, honesty, etc. Seeing the individual in society in an aggravated condition of abandonment, fragility, suffering and overexposure to death. This being something that we have been carrying as a society since ancient times, addressing this from his identity as a citizen of Lima, allows Peter Lara to interpret traditional characters such as San Martín de Porres, Wendolyn and homeless people from the center of Lima.

The artist has already worked on the “METAMORPHOSIS” project involving galleries in Lima such as Proyecto Amil and Sala Abierta, now the complete series will be exhibited in Fugaz.

Brief explanation:

The project consists of paintings and sculptures where he interprets and creates various characters from popular tradition, as well as characters from the collective consciousness whom he brings to mind as a cathexis. In its main piece called “Metamorfosis”, although characters from the viceroyalty appear, as well as from contemporary times, the series does not seek to explain in a linear way how the human being is transformed, but rather suggests how from a possible beginning the human being was already a monster. In the foreground we have a character lying on a board with wheels making a gesture that he is crawling. It is an interpretation of a lady from the center of Lima who, in a state of destitution, was crawling on a board with wheels. She had gray Afro hair, meaning by this how society normalizes and allows suffering, violence, slavery, etc. Whether supporting or militating, it is beyond human power to contain the neurosis that coexistence in society implies, affecting the most vulnerable populations. The artist configures the muscles of the human face, such as the orbicularis of the eyes, which in his oil paintings have the silhouette of a heart and that blue shape that goes from the right cheekbone to the forehead is the “macula coeruleus”, this term invented by the artist is the fusion of the concepts, immaculate conception and locus coeruleus, establishing a connection between the stain of sin and the blue stain of the brain. These shapes, along with the characters in his paintings, are repeated in different settings, generating with their movement a narrative that becomes explicit when all the pieces are present. The shapes that represent the muscles and some teeth on the face are a distinctive feature of his work, but they are there to show that we are monsters and machines that expire and that we see ourselves as inferior to the threats of nature. These forms have become his signature and a style through which he can be recognized, but above all recognize his pieces among the others.

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