Popularly known as the cloud painter, Carlos Nariño seeks to offer a sense of vastness and freedom in his oil paintings. Through a low horizon, almost on the bottom rim of his canvases, and with a slight strip of land, Nariño’s paintings invite one to dream, to play the games of clouds, to fly, to imagine, to enter the poetic homage the artist pays both Colombian and European landscapes.
In this new series, in which Paris’ La Défense horizon can be perceived, Nariño reminds us of Salomon van Ruysdael – Dutch painter who frequently hinted at churches in the distance. Carlos Nariño also alludes to Pierre Henri de Valenciennes, painter and Emile Corot’s teacher, who achieved great fame not only through his paintings, but also through his book on perspective, Eléments de perspective pratique à l’usage des artistes(Elements of Practical Perspective for Artists’ Use). As Corot’s tutor, his teachings influenced the Barbizon School, which contribution to art was a change in sentiment and interpretation of the atmosphere. This change, in turn, impacted the Impressionists, whose influence has remained present in present day artists.
Carlos Nariño is one of those painters who continues and retains the tradition of a flawless pictorial technique, combining backgrounds, colors and delicate brushstrokes to create works of art with the highest subtlety and quality. Few contemporary artists pursue this type of painting, one with a great sense of aesthetics, composition and love towards a form of expression and theme that are far from disappearing: painting and landscapes.
The vague aspect of distance is the insinuation that it cannot be touched, it is the sense of the infinite and eternal time. A remoteness that vibrates and pulsates into shapes and colors that become diluted amongst the aerial depths of a breathable space, where memory and reality, and past and present, coexist. A space of convergence to which only the imagination and fantasy of my dreams have access. My time, the manner in which I see reality, exists, wishing that these distances never be called still lifes.