Bolivar’s art is not of this world. — I mean the world from which these lines are written, from a place which has long been considered a universal artistic center, within a history of art which has been done most of the time in a mode Eurocentric and pro-Western - Arnauld Pierre
Bolivar is part of the MADI current. This movement was founded in 1946 in Buenos Aires by Carmelo Arden Quin. He makes the link between minimal art, constructed art of the 20s and 30s and the “hard-edge” in the United States of the 70s.
This movement born in the immediate post-war period is part of the movement of abstract geometric art, centered on the search for the polygonality of the work and rejecting the rectangle and the frame of the painting, which are too conventional. Added to this elementary principle is great freedom of choice of materials and techniques while remaining within the geometry of shapes and solid colors. The Manifesto calls for the opening of the “spatial environment” and the gravitation of forms, the possibility of painting flat polygonal structures, and of sculpting empty spaces and movements. Currently, the movement has more than a hundred members in fifteen different countries where four generations have lived together for sixty years.
Bolivar Gaudin only joined the movement in 1983. His work is the permanent combination of the square, the rectangle and the circle. This always rigorous dialogue tends to highlight these forms thanks to their arrangement and their colors. The artist only uses secondary colors and monochrome tones and thus stands out from the artists Malevitch (black and white), Rotchenko (primary colors) or Yves Klein.
Constantly in search of the infinite through his work, Bolivar is an artist whose deep artistic references are found in South American abstract art, but he also draws from all the major European abstract movements. His wood and metal sculptures generate a certain artistic illusionism thanks to an offbeat and asymmetrical rhythm in the purest tradition of Cézannian cubism.
