Sergio Rangel Penzo


[Caracas, Venezuela 1969] Born in family of great cultural tradition flamenco Christian, the Rangel-Manrique from 1912 stages the sacramental acts of the Living Passion in Mérida. His paternal grandfather’s Victor owned the gift of music and its grandmother ” Doña Carmen” the one of the health. On the other hand she acquires as inheritance of the Penzo-Dorante an ample knowledge of the art and the photography. Of the hand his uncle the Venezuelan film director Jacobo Penzo discovers the world of the image, with him shares practically all their childhood in this way is generated a species of complicity where the factory of work of its uncle is transformed into its space of daily game, Rolleiflex Planar 1: 3.5 in its eye, the imaginary friendly tripods, Nietzsche in the turn advisor and the unfinished Purgatorio of Arturo Michelena in the future dream. The visits of the artists, writers, musicians and other co-inhabitants of the cultural world conform the fauna who describe their infantile surroundings. In 1980 one begins in the pictorial process like a daring game and seduced by his maternal grandmother (Paula Antonia of the Carmen) the Carmen, it participates later in the distributed factories of summer in 1981 CEGRA of the Acacias and in the Athenian of Florida in Caracas – Venezuela, where it is discovering the plastic one like surroundings to his life. In an amalgam of average oriented pictorial graphs and at first to the unconscious demystification of the image as being container in the middle of the own chance of the childhood is discovering its way, plagued of memories. In 1984 it begins to take his first expositions steps in the Halls Drawing and Painting organized by Faber-Castell, the halls state, regional photography and painting is the points of contact. For 1990 National Hall Bolivarian Youth participates in the 2 where it obtains the first recognition to his work and the possibility of making reality his first personal exhibition. 1990 Studies of Graphical Design and in the School of Plastic Arts Red Cristóbal [Caracas-Venezuela], in this joint party experiences with national artists as as much international many of which influence of one or the other way and future development of their work. Alirio Oramas the symbolic magic, Pedro Terán a speech, Carlos Moyá the concept, Jesús Soto the space, Mario Abreu the goodbye, Victor Hugo Irazabal the graphics, Alberto Monteagudo the magic of the officiate, Santiago Pol the graphical communication, Miguel Von Dangel a footpath, Robert Guevara the friendship. 1992 begin in the photography, video, sonorous creation as complement to their communicative process, in teaching in different Venezuelan institutes of design. 1996 begin to work in the development of applications for the Internet to its artistic work. 1999 move Europe where at the moment it resides and multimedia is dedicated to the development of interactive semantic communications. Barcelona 2003, establishes contact with the catalan artists Joan Cots, Antoni Tàpies and Josep Maria Subirachs i Sitjar, among others from this contact begins to develop a work linked to the catalan culture by setting a jumper between its past and present, the work posthumously of Joan Cots allows you to understand the transmutable as a reflection of the eternal creator matter mysticism. Antoni Tàpies is the relationship pragmatic codes where only the initiates in certain ancestral knowledge can access encrypted, this relationship Sergio Rangel gets a thorough knowledge of the symbolic universe. The indirect relationship with Josep Maria Subirachs i Sitjar closer you to understanding Gaudí, to see the expression of the artist on his work, on his visits to the workshops of sculpture of the Sagrada Família Church in Barcelona directly confronts the craft of the constructor of cathedrals, a paradox in this time. 2009 come to Belgium, to establish his workshop in this country where he began to carry out a research process linked to the materiality and the expression of the object as full icon, where the concept idea becomes of the direct dialogue of the viewer with the work, unless there is a measurement between the creator and the final object.


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