RICHARD MONCADA - CAMINANTES

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RICHARD

MONCADA

AC ADE MIC TRA IN IN G Bachelor of Science U.E.M. Tulio Febres Cordero (San Juan de Colón, Táchira) Bachelor of Plastic Arts I.U.E. de Artes Plásticas Armando Reverón (Caracas, Venezuela)

P R O F E S S IO N A L EX PERIEN C E Plastic Arts Workshops Facilitator Escuela Agustín Aveledo (Caracas, Venezuela, 2000) Plastic Arts Teacher UEDAM ‘Gustavo Ledo' Propatria, Catia (Caracas, Venezuela, 2001 - 2006) Coordination Team Member ‘Small Creators' Exhibitions II, III, IV and V Museo Fundación Banco Industrial de Venezuela (Caracas, 2002 - 2005) Visual Arts Workshops Facilitator Casa de la Cultura Pedro Antonio Ríos R (Colón, Táchira, 2007 - 2008) President Instituto Autónomo de Cultura del Municipio Ayacucho (Colón, Táchira, 2014-2015) Workshops Facilitator Academia de Artes y Oficios Tallando Talentos (Cúcuta, Colombia)

C O MP L E TED C O U RS ES A N D W O RK S HO PS Drawing and Face Painting Course Copreduca (Colón, 1990) Pure Art Workshop Casa de la cultura (Colón, 1991) Vacation Guitar Course Casa de la Cultura (Colón, 1992) Second Drawing and Painting Workshop Copreduca (Colón, 1995) Third Drawing, Painting and Creativity Workshop Copreduca (Colón, 1996)

Faith Education APROFEP, 80 horas (1997 - 2001) Animatón Maratón de Dibujos Animados (Caracas, 1996) Towards an Education for Dignity UCV, UPEL, IPC, 140 horas (2001) Update and Pedagogical Exchange Day, 8 horas (Junio 2004) TAC Contemporary Art Workshop Antonio Lazo y Zeinab Bulhossen (Caracas, 2005-2006) Project Formulation CONATEL (Caracas, 2006) Contemporary Art Workshop dictado por el Artista Plástico Antonio Lazo (Tovar, 2007)

COL L E CTI V E E X HI BI T I O NS More than 30 Collective Exhibitions at a Regional and National level

INDIV I D U A L E X HI BI T I O NS From the Sacred to the Profane Galería de Arte El Punto (Colon, Estado Táchira, 2000) Looking for the Essence Galería Edeberto Barboza (San Cristóbal, Táchira, 2001) The Streets of My Cúcuta Centro Comercial Ventura Plaza (Cúcuta, Colombia, 2017)

AWA RD S A N D H O NO U R S First Place Salón de Pintura Colonense (Colón, 1997) Drawing Award Bienal de Artes Visuales Héctor Poleo (Caracas, 1998) Third Place Tercer concurso de dibujo y pintura Faber-Castell (Caracas, 1999) Third Place Cuarto concurso de dibujo y pintura Faber-Castell (Caracas, 2000) Honorable Mention Salón de Artes Visuales de Coro (Coro, 2007) Honorable Mention Salón de Jóvenes con FIA (Caracas, 2010) Work Merit Medal Gobernación del Estado Táchira (San Cristóbal, 2016) First Place Salón de Pintura Rápida, Museo de la Memoria (Cúcuta, 2018)

WORKS THE ‘CAMINANTES’ SERIES 1 2 3 4 5 6 7 8 A B C

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 68.9 IN X 47.2 IN YEAR: 2019

1

S TAT U S : F O R S A L E

I TRY TO UNDERSTAND THE COLOMBIAN-VENEZUELAN BORDER AS A TERRITORY WHERE THE COLLECTIVE IMAGINARY IS CONSTANTLY RECONFIGURED. I AM STILL TRYING TO UNDERSTAND MY STATUS AS A MIGRANT. THIS IS AN EXPERIENCE THAT MY FAMILY AND I HAVE YET TO FULLY PROCESS, ALONG WITH THE MILLIONS OF OTHER VENEZUELANS WHO ALSO FLED THE COUNTRY DUE TO THE SERIOUS ECONOMIC AND SOCIAL CRISIS THAT THREATENED OUR SURVIVAL. I THINK THAT THE CONSEQUENCES OF THIS MASSIVE MIGRATION WILL BE SEEN IN THE COMING YEARS. VENEZUELA WILL DEFINITELY BE A DIFFERENT COUNTRY THAT WE CANNOT VISUALIZE. WE SEE WITH PAIN HOW FAMILIES DISINTEGRATE DUE TO THE DISTANCE: SPOUSES DIVORCING, GRANDPARENTS RAISING THEIR GRANDCHILDREN, CHILDREN BEING SEPARATED FROM THEIR PARENTS, ARE EXAMPLES OF SOME OF THE SERIOUS EFFECTS OF THE VENEZUELAN DIASPORA. THE ANGUISH THAT GENERATES FROM NOT BELONGING TO THE CULTURE AND THE NEW TERRITORY FORCES THE MIGRANT TO RESPOND TO THE REALITY. EACH INDIVIDUAL MAKES HIS BEST ATTEMPT, FULL OF SUCCESSES AND MISTAKES (LIKE ALL HUMAN CREATION) IN THE CONSTRUCTION OF HIS OWN SPACE... A PLACE TO CALL HOME. THE LOCAL TERRITORY AND ITS SOCIAL DYNAMICS ARE FUNDAMENTAL GUIDELINES TO MY PICTORIAL WORK.

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AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 66.9 IN X 47.2 IN YEAR: 2019 S TAT U S : F O R S A L E

I USUALLY INCLUDE A SMALL ELEMENT OF DISTRACTION IN THE COMPOSITION OF THE PAINTINGS, SOMETHING THAT DIVERTS THE VIEWER'S GAZE FROM THE MAIN SCENE. FOR EXAMPLE, A SMALL STREET DOG THAT REMINDS US THAT IN THE FACE OF ADVERSITY THERE IS ALWAYS HOPE, AND THAT EVERY SITUATION IS TEMPORARY, NO MATTER HOW DIFFICULT IT IS TODAY.

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 66.9 IN X 47.2 IN YEAR: 2019

3

S TAT U S : F O R S A L E

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 66.9 IN X 33.4 IN YEAR: 2019 S TAT U S : F O R S A L E

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AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 43.3 IN X 31.4 IN YEAR: 2019

5

S TAT U S : S O L D

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 43.3 IN X 31.4 IN YEAR: 2019

6

S TAT U S : S O L D

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 47.2 IN X 35.4 IN YEAR: 2019

7

S TAT U S : S O L D

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 43.3 IN X 31.4 IN YEAR: 2019

8

S TAT U S : S O L D

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 19.7 IN X 19.7 IN YEAR: 2019 S TAT U S : S O L D

PORTRAIT A

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 19.7 IN X 19.7 IN YEAR: 2019 S TAT U S : S O L D

PORTRAIT B

I AM INTERESTED IN HOW THE PICTORIAL MATERIAL GRADUALLY TAKES SHAPE UNTIL IT REACHES THE RECOGNIZABLE IMAGE, AND IN THE OPPOSITE DIRECTION, HOW THE REPRESENTED IMAGE DISSOLVES UNTIL IT BECOMES A STAIN.

AC R Y L I C A N D O I L P A I N T I N G O N C A N VA S S I Z E : 19.7 IN X 19.7 IN YEAR: 2019 S TAT U S : S O L D

PORTRAIT C

RICHARD MONCADA A RT I S T , FAT H ER , M I GRA NT ,

V E N E Z U E L AN.