The geometric compositions of Kiko Pérez (Vigo, 1982) directly refer to everyday items, now used as sources of artistic inspiration, such as maps where the images and blank spaces form new pictures that the artist interprets in his own way. They also allude to scratches, cracks and accidental or unintentional marks on different surfaces. Whatever form his compositions take on, they end up drifting far away from the original model using formal means that give the figure itself and the material used some unexpected characteristics in the canonical representation of what is accepted as geometric abstraction. In fact, it seems inevitable to make allusions to minimalism or the Soviet avant-garde while contemplating his work. Yet contrary to the cold, industrial construction of the minimal and far from the dogmatic quality of Suprematism or Proun, Kiko Pérez produces artifacts of unusual warmth.
Wood, paper, aquaplast, varnishes, optical and kinetic play with different tones and hand crafted textures… all of these are given by an emotional process in which the artist makes formal aspects of everyday life his own, then through thoughtful refinement he converts them into objects. Thus the unconscious combinations of colors and shapes that Kiko Pérez discovers by observation of his surroundings seem to objectify the gesture and stroke where the conceptual (an essential aspect of his work) also implies a recent predisposition to things fleeting and otherworldly. And his geometric compositions, lately more fluid and organic than overwhelmingly constructivist as they had been until now, humorously suggest subtle modifications that take certain flawed concepts of contemporary art into a new context. It is this context that relocates the form in other spaces, the one that occupies an (un)historical place, the one that discovers the existence of an approach that is not alienated by the view of hegemonic rhetoric.