Sol del Río is pleased to present its new exhibition THREE PLUS THREE.
This exhibition brings together the proposals of three Salvadoran and three Guatemalan artists—creators with whom we have walked and who have accompanied us for years in our journey as a space, seeking to create dialogues and points of encounter or divergence among the multiple proposals of local and regional artists.
Within the works included in this exhibition, we find diverse expressions in drawing, sculpture, painting, photography, photogravure, and installation. This staging seeks to immerse the viewer in different realities that converge within a shared language.
We begin the journey with a dose of nature. Verónica Vides works with an aesthetic that speaks of duality, just as it is revealed in the natural world.
Walterio Iraheta has become a creator of languages, presenting objects and toys, transforming them from the massive to the original.
Simón Vega recreates spaces, histories, and realities. His artistic line is unmistakable, presenting with subtlety “sketches” that in fact contain complex constructions and enduring semiotics. He combines stereotypes from two parallel worlds—one developed and one developing.
Luis González Palma develops a reflection through astronomical images. He calls this series “Koan”, meaning a question without logical solution, whose purpose is to break conventional patterns of thought and lead to a sudden awareness of enlightenment, according to Zen philosophy. Conceptually, Luis ventures into what he calls “lyrical abstraction,” which serves as a way of accessing a more complex and profound state of consciousness—seeking a reality linked to emptiness and the sacred space. He invites us, as viewers, to question that universe shaped by the void, by nothingness.
Norman Morales presents “The Drift,” an artistic and everyday exercise proposed by a group of revolutionary artists who called themselves situationists. This practice emphasized the political power involved in moving through the city without a predetermined destination, seeking unknown experiences with the aim of changing the way we see and live urban life.
Sandra Monterroso is inspired by organic forms, such as diseased seashells—when the ocean is polluted, a red stain called red tide appears. She also references fungi that grow on tree trunks, which for her become symbols of both feminine and masculine energies, petrified within the painting. Once combined with acrylic, India ink, and achiote, these forms are also affected—becoming penetrating healers.
This is how we walk through this exhibition, presented to the public throughout the month of August, showcasing converging dialogues and unique proposals.