Critic by Gerard Xuriguera

“If painting refers only to itself, more specifically, all of its components, it proceeds along a hidden reality, which stems from the artist experiences during childhood, adolescence to middle age. This unconscious hand therefore reflects a past, a memory, a culture, an identity, that forge the spirit of a work.
A native of Maracaibo, Venezuela, set in Paris for a decade, Wilmer Herrison initially thrived a hospitable land, before experiencing the agonizing difficulty of being in a country torn and bruised. Born from an early momentum in a family context informed his painting could as embodying his personal adventure, accompanied by his connivance with Indian and European cultures that have nurtured and strengthened its vocabulary anchors, without altering the foundations. A resolutely turned towards the infinitely nuanced vocabulary ranges geometry sometimes slightly allusive, which beyond naturalism, intersects the exuberance of Caribbean vegetation, configurations of colonial architecture or sparkling Lake Maracaibo, which reinvented echoes past the filter of his stylistic register, just show a materially syntax, in the sense intended by Plato, that is to say, based on an ideal of independent beauty.
However, despite the subtle reminiscences innervated in graphics systems canvas, unifying a grid of squares, rectangles and triangles, it is art that is built. And this approach both mastered and talkative, restraint and abundant in almost gossamer boundary profile is no recognizable subject. It merely to hint otherwise imagine, remains away from the industrial city and the scattered traces of oil activities, the linear combinatorial and interstitial screens that structure, absorb and integrate into their compartmentalized organization.
Thus, the symbol of the form or vice versa, by ingeniously paired these populated leaves vertical, horizontal or oblique graphs, are often divided by a median line that seems delineate the ground from the sky, unless the severed arteries which constitute the surface strata, do not induce other assumptions, such as water and reflections, even the flashing lights of an imaginary city, but overall, our field does not retain these possible equivalences that One consideration of picture codes.
Therefore, if the process of the Venezuelan artist legitimately claims forms set, he sometimes transgress orthodoxy. She escapes the formal drought usually contiguous to the constructivist writing, so by the uniqueness of its facilities, to favor the rise of color through light. This, away from the dizzy heights of optical illusion and retinal permutations, many of his compatriots have raised high the banner. In these schemes, despite the blurring of lines studied and chromaticism is stability prevails. Furthermore, the Gestalt, considering the form of physical angle and equipment, and also as a phenomenon justifying how the world calls the man by the way, joined the process of Wilmer in the junction between the sensible and the intelligible.
Now the vibration between duplication and geometric counterpoints stabilizers, emerges as a more toned serious balance, reinforced by the very measure calibrated infrastructure, according to the thoroughness of its overlapping ribbed. Then tied with astonishing thoroughness, a reverie Goldsmith reveals something obsessive thing in interactive weaving frame, where muffled rhythms adjoining other louder, enchainent their differential voltages and contrasting colors in a discrete
effusion. Worked alongside the knife using short or extended features, such compositions carefully woven by hand outside the usual extra tools require careful internal discipline any overflow, which plays on the shifts and proportions, by giving the table its viability.
Finally, do not ignore it, art is essentially a projection. Also throughout the consistency of his young career, Wilmer Herrison does nothing but express it carries more intimate him. “My country is my home,” he says, and it is also the story of his work.”

Gerard Xuriguera