"The INFINITE Force - 7.1" Painting

Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 40 years. His purpose is to pursue a direct and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. About the author: Amalia Caputo is a curator and a contributor to the publications Extracamara Magazine, Caracas and Arte Al Dia International, Miami. She holds a Bachelor of Art and Art History from the Universidad Central de Venezuela. In 1995 she received a Master of Arts in Photography at New York University. Her work has been exhibited in museums and galleries in Caracas, Barcelona, Mexico City, New York, and Miami. She lives and works in Miami, Florida. ___________________________________ "Although a diligent experimenter who also applies a complex assortment of media (Photography, video, installation, performance, digital work), Cerj Lalonde remains above all an extraordinary painter." About the author: Antonina Zaru is an Italian curator and art critic who has organized several exhibitions and retrospectives in museums around the world (from Miro and Magritte to Richard Serra and Nam June Paik). __________________________________ Cerj Lalonde is an artist-philosopher. His paintings are created from intellectual concepts filtered through a flow of sensuality. Whereas the concepts are at the root of the composition of his works, the flow does not compete with one another. They support each other and thus give life to the artwork. The most striking aspect of Cerj's paintings is that these two sides of his creative gesture remain distinct and visible. Consequently, his works are always clear and understandable. They manage to avoid the danger of emotional exuberance as well as that of cold calculation. They exist by alliance rather than by synthesis. Since I used to see him frequently and followed his work closely, I must say his artistic technique offers a surprising continuity.