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Fudaryli Pierre was born in November 1984 in the city of Cancun Quintana Roo, Mexico.
From a very young age, he raises his interest in the visual arts, studying independently from the great masters of painting. At age 11 attempts to take painting classes, but leaves the company because there was not freedom to develop a free intellect, as he was subjected to the prejudice of a mediocre teacher.
At age 12 in a magazine article he found the painter who would be one of his major influences, Salvador Dalí.
The "Corpus Hipercubicus" and "carne de gallina inaugural” opened new horizons in the mind of Fudaryli, who later knew of Remedios Varo, Max Ernst, Chirico and the rest of the surrealist movement personalities, who unlike Caravaggio and Botticelli, present a distorted reality for the imagination and the absurd, that, for Pierre, represent the true value of a work and its creator.
Later on, he joined the School of Architecture, where he became familiar with the use of digital tools for architectural representation, as well as with digital photography, which gives fresh ways to attempt new methods in the creation of art.
His work revolves around human nature, its passions, strength, excess, spirit and death.
The daily geometry of our death, from birth until we cease to die. compose what he calls "altered reality of human energy" which graphically describe the behaviors in different states, different vectors fired in all directions in a fractal way, both introspection and projection.
His art does not represent things in a two-dimensional way, but hepta-dimensional way, it analyzes all the spatial axes (north, south, east, west, up, down and the point where you are) and freezes a moment of our human supra-reality.
The peripheral metaphysical vision coagulates concepts in ways that feed on common symbols for a possible reading of each graphical manifesto.
He is always experimenting with different art techniques, with incursions into sculpture, installation, photography, video, but with more development in the paint (acrylic, pastel and ink) and photomanipulation with design software, both 2D and 3D.
“Do not rationalize the irrational; the narrow bridge between the wonder and fear is what creates the visceral shock between art and spectator.”