When Roberto Roque embarked for the first time to Europe in 1971, with a suitcase full of questions, I could not imagine what beaches will surely lead his restless creative spirit. Like so many other artists of the past and present, an inner desire to find himself impelled him to go along the original route of Western art. After a brief meeting in Paris with Siqueiros, one of his earliest and most consistent influences. Roque filed several years in northern Italy, where the diversity and intensity of their experiences, began to transform into figurative visual art of indisputable quality, stating on several occasions in forums of the peninsula, individually and collectively, and even in their own Soviet Union. Several techniques and materials tested for this Time: Drop in acrylic, ink drawing, etching, acrylic on wood, paint mural.
At this stage also begin to work on a polychrome stone in its natural state, country little used in modern art, but with strong echoes, not only of prehistoric art, but also the pre-Hispanic, and even the Middle Ages.
Roque was born and with the new trend: "The Roquismo." Years later, in the eighties, this trend would culminate in Mexico, with pictographs monolith, with sixty-seven tons and six meters high, which is located in the gardens of the ENEP Acatlan University School Nacional Autonoma de Mexico. .
Several experiences converge to define the personality of this artist, who asked for their preparation, Gorki University
- Life itself - the rigor, often suffocating, academia, the Bribriesca, for example, from his early years: working with the photographer Enrique Bostelman: The surprise encounter with Siqueiros and Expressionism, Munch particular, the work, first in Mexico and then in Italy, in psychiatric hospitals, where he teaches visual art to the mentally ill and observe, measure, experiment, and the Greco Mannerist used to in the asylum at Toledo. From expressionism to surrealism. From modernity to postmodernity. Assimilation of a social reality that bursts with violence in Mexico in the 68 and fighting continues in the Italian cultural labor movement, split the same reality in the mysterious world of dreams. On his return to the homeland in the late seventies Roque deepens his work with the stones, but without leaving the stand and mixed media: acrylic on wood, cardboard, sand, blanking on cardboard. Well arise in the eighties "Coven" of dramatic expression, in contrast, the erotic paintings of soft breath: "Dressing", "What happened to us," "Pendulum," among others. Notable is also on this line the number of serigraphs titled "Relations."
Initial production of the nineties provides an interesting bridge between subject and material: intimate, sensual, the eternal feminine comes to life on the couch with postmodern hues: red, green, purple, smooth and rosy skin.
The most recent work of Roberto Roque cops at the audacity of Renewed design and experimental sign: contrastantánte in technique and material, but similar in theme, jumps off the ink drawing on paper to the pool of regular size and shape, the artist carved and painted. The obsession of the stone and women. Five different models reveal in fine detail lines seductive forms: ankle, leg stretches lazy languor of the stomach, wrist, forearm, convex roundness of a breast, a casual clothing, Reflective features a beautiful face, a look and, beyond, the enigma of life itself, suggestive nudity, all in a series that shows no doubting the talent, the job of the artist, who arrives at his creative maturity committed to his time with his reality and the universal message of art.
Carlos Vejar Perez - Rubio December 1994.
Solo.
1974: Verona, Galleria Line 70;
Verona, both regional Festa Unità;
Milano, Galleria Libreria Rizzoli Editore.
1975: Verona, Galleria Line 70;
Vigasio (VR) Scuola elementare.
1976: Vigasio (VR) Teatro Diana.
1978: Firenze, Casa dello studente;
Valeggio sul Mincio (VR) Palazzo del Comune.
1979: Mexico City, Central Library of the National Autonomous University of Mexico.
1980: Morelia, House of Culture of Michoacán;
Querétaro, Abelardo Avila Hall Museum of Queretaro.
1981: Mexico City, Hall of CREA.
1982: City Mexico, Palacio de Mineria, silk-screen presentation of the folder "Relations."
1990: Edo. of Méxioco, ENEP Acatlán UNAM, Inauguration of the work pictomonolítica.
1993: Mexico City, Centro Cultural Rafael Solana.
1997: Verona, Galleria d'Arte Piazza Erbe;
Valeggio (VR) Borghetto.
1998: Caprino Veronese (VR) Villa Carlotti;
Nogara, (VR) Palazzo Maggi;
Malcesine (VR) Scaligero Castello;
Verona, Galleria d'Arte Fra Giocondo;
Verona, Girland'arte.
1999: Bologna, Galleria Catiglione Art;
Castel D'Azzano (VR), Scudo D'Orlando.
2000: Pescantina, Caffetteria Dolci Follie;
Pescantina, Fiera Campionaria.
2001: Mexico City Country Club in Mexico City, "Five years in Italy"
Soho, New York, Agora Gallery, Broadway NY.
2003: Mexico City, Reyes Heroles Cultural Center, Coyoacán, "Roque rocks."
Exhibitions.
1974: Verona, Palazzo della Gran Guardia.
1975: Bakum (USSR) Settimana Italiana;
Cologna Veneta (VI) Palazzo del Comune.
1979: Mexico City, Galeria Firenze.
1994: Mexico City, Centro Cultural Juan Rulfo;
Mexico City, Galeria The Stained Glass;
Mexico City, National Medical Center.
1995: Mexico City, National Medical Center
1998: Rome, Libreria Paesi Nuovi;
Verona, "Ottobre Arte, Palazzo ex Parona Township.
1999: Padova, "Padova '99", 10th. Displays Contemporary Art Market Contemporary
Rome, Italo-Latin American Institute;
Firenze, "Orizzonti incrociati" Palazzo Santacroce;
Rome, Premio Internazionale "Beato Angelico" plate issued by Forum-Rome Interart;
Verona , "Artisti per interpretare i colori della vita", Castelvecchio.
2000: Verona, Arsenale, Accademia Arti e Mestieri;
Firenze, "Percorsi incrociati" L'ex-Convento del Carmine;
Verona, Teatro Nuovo Accademia Arti e Mestieri;
Innsbruck, Austria, Galerie Bertrand Kass;
Venice, Jesolo Art Expo 2000, 1st. Market exhibition of modern and contemporary art;
Verona, "Vivi's house in fiera", Accademia Arti e Mestieri;
Verona, Museo Castellvecchio. Accademia Arti e Mestieri.
Mexico
