Nicolas Longo

Nicolas Longo (1983, Córdoba, Argentina) began his artistic career in 2001 under the influence of Post-Internet and the Argentine economic crisis. Longo frames his speech in the methodological mainstreaming that the digital / analog scenario proposes. These works belong to The Decadence of Abstraction series (2019/20) and are structured under the orbit of Delaunay's Triangular Condition: each work requires around 100 hours, 6 digital interfaces, and a colorimetric range of more than 1000 values.

Longo's Dynamic Abstraction is part of private collections in England, Spain and Argentina and has been reviewed by critics Claudia Moscovici (Fine Art Books) as: "... a geometry that explodes at seams, moves with a fascinating force in a dance of color and form that overwhelms the senses and torments the imagination ... ". Nicolás Longo has commercial representation in Latin America and Europe.

The Dynamic Abstraction of Nicolas Longo

By Claudia Moscovici

I don’t know if Nicolas Longo likes to be compared to other artists. Many artists don’t, yet nobody lives in a cultural vacuum. As an art historian and art critic, I try to describe the innovations of new artists in terms of the legacies of the past. Nicolas Longo is a young Argentinian artist. He started painting Abstract art at the age of twelve, growing up in the age of digital art and the Internet. His geometric art seems to come to life: the abstract shapes pile up, one upon the other, in multiple dimensions and countless angles, beckoning to the viewer with their vivid colors.

In Longo’s art we can see traces of Piet Mondrian’s obsession with primary colors and simple geometric shapes, which the artist viewed as spiritual basics. As Mondrian famously stated in 1914: “Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art.” Perhaps echoing this idea, Longo observes: “I feel that the common trait in contemporary art is having nothing to say. I only focus on painting ...