Contemporary Culture: The Relationship between the Work of Oscar Munoz (Mixed Media) and Shigeru Ban (Architecture)

Oscar never is one of those artists unpredictable, adventurous, yet he often refers to bases, if you like traditional art like drawing and photography, always looking for ways to surprise, to mark the pattern, from seemingly simple but surprisingly proposals in form and content rich. His pieces transcend traditional artistic canons to acquire cutting-edge colors, conceptual and media appeal to unusual and unstable in the experiments begin to appear with mirrors, with the breath, light and water games in which the viewer experience, besides the sensory enjoyment and amazement at an unprecedented waste of creativity, takes an active role, auditor, in the work.

To make matters worse, Muñoz suggests reflections not go unnoticed against the staging of a series of dichotomies that speak of life and death, sweet and sour, the beginning and the end, the ephemeral and the eternal. Born in Popayán in 1951, in the midst of a middle class family, but settled very early on in Cali. Its interest in art began very early to develop through drawing, which had been consolidated as their favorite pastime.

Later, as a student in high school, their parents, deeply interested in the art, along with her ??sisters enrolled at the Institute of Fine Arts in Cali, with the aim of which is instructed in any artistic ability to complement their academic studies: they received training musical emphasis, while Oscar was guided by the visual arts. For 1971, a year after finishing high school, Oscar also concluded their training as an artist in Fine Arts. That same year presented his first works in which his talents came into play fine artist, the which constituted the fundamental starting point during the first years of his career. By making a sightseeing tour of his work is possible to understand why an artist Óscar Muñoz is difficult to predict and pigeonhole. (Gonzalez, P 110)

His first solo exhibition entitled Drawings done in 1971's morbid. Through it presents a series Muñoz Vinyl illustrations on wood, mainly in black and white, which represents bodies deformed, half dressed and half naked in close-ups to attract the attention of gossip and morbid spectator. For this same time, retaining the same technique and theme, Muñoz presents Opera which puts stage characters whose manners and furnishings give a clear account of opulence. They are sitting in a box covered with fabric curtain serves as a sliding lid and lower limbs.

The viewer is warned by the artist to run the curtain to reveal the characters legs suggestively entwined. The shame is evident through bare limbs adorned with garters and suggestive lace, in provocative displays of eroticism. This will be the tendency to define the first stage art until the mid seventies that complemented with works such as Couple, Tea Time, Bridge Club, El Brindis and Young Colombians in which, According to Miguel Gonzalez, have "solemn figures, circumstantial, extremely conventional in top of the charts, that is, from ...