Andrés Bonino is an architect, photographer and art lover born in Montevideo, Uruguay in 1979.
His influence and inspiration are based on the modern architecture of the 30s and 50s, and contemporary architecture.
In painting he finds his bases in abstract expressionism, and is based on the abstraction of architectural structures. Epaces or pieces, such as planes or facades, are analyzed in their basic structures and then captured in the canvas.
His photography captures works and details of modern and contemporary architecture.
We cannot enter Andrés Bonino's work without previously positioning it within the precepts of the modern movement and the “International Style” (Moma exhibition. NY -1932)
In particular, we cannot understand his vision exempt from the work of the Bauhaus, Mies Van der Rohe, Le Corbusier and the city of New York as a cultural condenser and producer of art and architecture.
The theme chosen, the decoding of it, its subsequent abstraction, the composition of the forms in the search for the golden ratio, the conformation of color, its tones, the meticulous accumulation of layers of paint, are an inherent methodological ritual of his strong constructive vocation in the search for an aesthetic emotion.
The painting and architecture converge in his work through an abstraction of the architectural graphic, which filters through successive reductions of the plane, color and line: disfigures the boundaries between them in the use of masks, tones, and summation of "layers" veiled Its expressive modality is anchored in the thorough production of full color, tone and perfect lines, taking refuge in the continuous exploration of the technique.
He intuitively reproduces in his paintings an analogous parallelism between the forms of modern movement architecture and the artistic avant-garde of geometric abstraction: use of glass vs. veiled paint planes, pillars vs. compositional elements vs. regulatory vertical lines, shooting planes vs. full of color and tones.
Its expressive modality - although it is identified with abstract expressionism, the “Colorfield Painting” of NY and the “Hard Edges” -, is anchored in successive explorations of the technique to achieve subtle resources that allow it to recreate a photographic abstraction. The masking of planes and lines, the full color and tone, the veiled planes layer by layer as a resource of depth and perspective, the use of white on white and semi tone on tones