DIGITAL ENGAGEMENT IN CONTEMPORARY ART LANDSCAPE
Carlos Lersundy’s artwork is a captivating exploration of the dynamic relationship between technology and traditional art mediums. He crafts unique compositions that challenge conventional boundaries by embracing innovative techniques, including digital tools and software. His work seamlessly blends photography and painting, crafting mixed-media pieces with oil paint that intrigue and inspire. Notably, Lersundi’s landscape artworks are particularly striking; he skillfully employs digital techniques to transform and reinterpret natural settings, creating visually stunning distortions that captivate the imagination.
Lersundy crafts mesmerizing 3D effects within his artwork, seamlessly transitioning these digital wonders onto canvas through a masterful mix of oil painting and traditional mixed-media techniques. The outcome is a stunning fusion of digital innovation and classical artistry, captivating and thought-provoking. His creations have graced galleries and art events across Colombia, Chile, and the United States, enchanting critics and collectors alike. Lersundi’s distinctive approach to mixed-media art has garnered him a devoted following of collectors due to the evocative quality of his work.
Carlos Lersundy was trained in a structured discipline of drawing applied to illustration. He is left with a slackness in the line, a clarity in the approach of ideas, and today, despite his training, he hides the literary implications that could undermine his work as a painter. In his search for pure plastic values, he explores a theme of immense temptation for the illustrative, such as is the Quixote. The dressy and thin figure of the Mancha Knight poses to this young value of Colombian plastic serious relationships of forms that he combines with skill, until he achieves in each painting a sober version of Alonso Quijano, seen with a palette restricted by an impulsive, rhythmic line. As a complement, there are some bodegones in his current production that have a strong Hispanic accent due to the gravitation of their dense and round shapes, expressed equally with the greatest economy in tones and maximum simplicity of representation.
In Lersundy, this constancy that we perceive in the current painting of Colombia, which tries to reincorporate the currents of the great golden age of Spanish painting, is once again manifested. José Gómez Sicre, Head of the Division of Visual Arts, Department of Cultural Affairs, Pan American Union, Washington, D.C./ October 21, 1967
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