For a number of years Angel Vergara has been using a wide range of technics including, drawing, video, installation and performance. It is through these means that the artist investigates and opens up the field of painting, exploring its possible evolution in aesthetics as well as treating its sociopolitical aspects. Angel Vergara's starting point is found in everyday life, his art is nourished with the common, the street providing an excellent working space and backdrop to his actions. Working more often than not in the publicspace, time and place are accurately indicated within his paintings, without however being bound in space and time.
The resulting paintings are a perfect but incomplete documentation of a cross breeding that takes place between art and life. And it is in this gap that Vergara's sharp questioning of his era is most effective.
If his recent works are more oriented toward film and video installation, it is to feed his interest to find within the flow of moving images the possibility of executing a painting in real time. Angel Vergara will occupy the Belgian Pavillion in the Venise Biannial later this year, with a specific project entitled Feuillton (Serial) which addresses the theme of the seven deadly sins. Using this theme as the main vehicle to comment contemporary society it acts as a virus inoculating the range of chosen images taken from news footage which are delivered to us in such a trivial manner. The Images that the artist appropriates, are edited in quick, repetitive, succession mimicking the title sequences of the endlessly televised police serials to which we are constantly subjected ; his final intervention is to virtually attack the moving images with his brus hand paint, amplifying an apparently impotent gesture.