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1986, Buenos Aires,  Argentina



In an almost poetic way, Andrés de Rose looks for silhouettes, lines and other plastic elements that propose sensuality to the figure, privileging the feminine as a fundamental component that acquires more prominence than the masculine. This sensitivity is not only expressed in figurative terms, but also in terms of color. “In my scheme, black is where feelings are born and lodge, white is where they evolve, fly and shine, and color is in the middle, as a bridge between darkness and light. I use it to provide temperatures”, explains the artist.

The perceptive work of Andrés De Rose, in which the most geometric sense of an overwhelmed nature is appreciated, manages to find beauty in creatures that even get to horrify some people from their insignificance. An act that does not arise spontaneously, but rather arises from a philosophical reflection, which goes hand in hand with the way this creator has of living art: to understand more and more contemporary life and induce his own catharsis and that of the viewer, from an abstract, subliminal, poetic language.

Lía Alvear, 2017
Arte al Límite 


Hoja negra




Black leaf
A stone that is cold sits on the edge of a sketch. It is cold but exudes heat, it operates in silence without anyone seeing it, slow, stealthy and precise. It has edges that are not clear in the dark, it does not matter, the shape prevails.
A notebook contains an organism that falls apart in space.
A pad of white sheets exhibits rituals at right angles, they are sketches behind an idea that mutates in the act of walking.
A black leaf extends in the subtle plane, expands, crawls, unfolds as the opposite and vibrates in its essence of border.
A painting that submits its own strength runs through the box, it is too small for him, but it enters, cuts out and invades, opens, climbs, and asserts itself on the plane that supports it.
Hypothesis that crawls and becomes an object stops and takes a body, breathes and emerges between days of suffocation.
Lines that were once a ceiling are erased in soft forms.
The idea of a plenary session that was, today is particle.
Fuzzy nebula.
It expands.

María Alejandra Gatti and María Waissman.



Fortuitous Space


In Andrés de Rose's Fortuitous Space series we are caught by the challenging whites and the deep blacks of an artist affirmed in these enigmas. In straight lines that overlap others, breaking substantially suggestive spaces, decidedly populated by that firm construction that offers us a look at the terrain, without accidents but with the intrinsic conception of a non-place or of a possible space, a kind of temporary shelter. Barely lighter or darker grays intervene zones, in each work the balanced composition is exactitude and it subjugates the rest that accommodates its edges in the universe of absolute abstraction. It is a body of work that is opening up new possibilities, that impresses with its solidity but more for its contribution, in a dangerous and difficult field, because you have to fight if you want, with the background of these currents, and Andrés surprises and comes out gracefully. It is a different image, it is another proposal, it is essentially pure.

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20.2.20 - 26.3.20

Nostalgia for a forest. Andres De Rose

Curator: Andrés Waissman

Text: David Nahon


The division between nature and culture is one of the issues that came to public discussion since the seventeenth century, on the assumption that human beings are a species apart from the others that inhabit the planet. This hypothesis, which anthropology names naturalism, is based on the subjective and reflective capacities of human beings, in possessing an inner world unlike plants and animals. That intimacy, that heterogeneous compound of ideas, customs and beliefs is sometimes called culture and sometimes civilization. It seeks to establish the coordinates where the human being acts, in a freedom determined by the unconscious, genetics and the environment, but it does not answer the question What makes us human beings?


Painting is the philosophical practice where Andrés De Rose reveals that same concern for the nonsense of culture, the hopelessness of life in the city. For him, painting is modeling a new architecture within the scheme of a city that is hostile to him but which he does not renounce. He chooses her to work, he chooses to be present where his problems summon him. Instead of moving away, he approaches things like an entomologist and invents from that contact where an insect is a small animal and at the same time a very complex technology. Andrés warns that the city does not coexist with nature, it only understands itself and expels it. In his work, the mathematics of straight lines presents this isolation effect, while full blacks increase the perception of loneliness. Geometry is his resource to correct the unfolding that distinguishes between civilization and barbarism, a division that places nature as the antonym of culture. Can a work of art save the world? No, but it can bring relief from the world to the one who performs it.


When Andrés paints, he enjoys and suffers. His creation finds its source in a void of knowledge and that lack can be distressing, but he puts that discomfort to work in his work. For Andrés there is painting as an object, the thing we call a work of art, but first there is a procedure. He began painting and sometimes abandoned it for years looking for it to become charged with minerals, with humidity, with its own states, by coexisting in the same environment as his paintings. His method arranges the pictorial matter so that other elements of nature, always latent, make way for it, waiting for man to retreat, move away or become extinct. There he has just resumed the task on the surface of the canvas, seeking to transform that energy into a piece of art inspired by the properties of the obsidian stone, qualities that he knows from passing through his own body. Obsidian is not a stone, it is a crystal. Like the other crystals, the formation of the world is inscribed. These crystals are the relic of the planet before culture and Andrés De Rose finds in the obsidian stone a formula to think about painting from history but leaving it out.


The afternoon that Laszlo Toth starts hammering against Michelangelo's La Piedad a substantial fact goes unnoticed, Toth is a geologist. And the task of a geologist is, among others, the study of stones. The moment Toth breaks the sculpture, he goes through the stone that carries a knowledge. Take a step toward wanting to know. It goes from seizure to incorporation through the blow, like children breaking toys to find out what they are made of.


But Toth is not the first to attack La Piedad, Michelangelo himself destroyed an earlier version by breaking the legs of Jesus Christ, seeking a truth in his stone. Laszlo Toth steps in to bring relief from his delusion of being harassed by God. Michelangelo, on the other hand, breaks the stone to make it fail. To give life through that lack. Applying this principle, Andrés explores the obsidian stone like a map, resetting the coordinates of his own spiritual experience, looking for a place outside the link of exploitation that the city establishes with nature. De Rose paints an omnivorous humanity unleashing its ferocity on the natural world, in the same way that capitalism devours all that it rivals. There is an idea of ​​progress that feeds on violence. Like the thing in the movie The Otherworldly Enigma, civilization is the alien form that when shot, grows.


NASA long ago released satellite images of northern Kazakhstan, revealing geometric figures in stone built by ancient civilizations that can only be seen from the air and are 8,000 years old. After so many years of frustration in communicating with outer space, it may be a good time to start practicing dialogue with people closest to us.

Bio andres
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Andres De Rose (Buenos Aires, Argentina, 1989)

Andrés de Rose considers his artistic practice as a philosophical matter. The dispute between nature and civilization unfolds in his work. Through it he questions the nonsense of culture and the hopelessness of life in the city. According to David Nahón, “in his work the straight lines present that isolation effect, while full blacks increase the perception of loneliness”. In the same way, Andrés approaches nature in its most minimal expressions as an insect, that is, a small animal but at the same time a very complex technology. Here his ideology is manifested: in the beauty of these imprecise beings resides a strong belief that what matters the most lies in the smallest things of nature.

De Rose graduated from the National School of Fine Arts Manuel Belgrano, and for a decade he studied with Andrés Waissman with whom he developed his intuition and artistic sensitivity. In 2012 he participated in the residence And so on, and so on managed by Curatoria Forense in Valparaíso, Chile. Also, during 2013, he was part of the annual Program for Artists Proyecto PAC. Likewise, in 2018 he attended Art Clinic Seminars dictated by Tomás Espina and Juan Manuel Walcoff. The following year he was selected in the residence NO Residencia EN Tránsito San Martín de los Andes coordinated by Cristina Barres, Lucas Cánepa and Josefina Zuain.

He featured his work in numerous solo exhibitions such as: Nostalgia de un bosque (Galería Gachi Prieto, Bs. As., Arg., 2020);  Latido (Jolie Bistro, Bs. As., Arg., 2019); Hoja Negra (Galería Gachi Prieto, Bs. As., Arg., 2016); Redención (El Balcón, Bs. As., Arg.,2014), Fractales (Galería Crimson, Bs. As., Arg., 2007) and Espacio Fortuito (Galería Gachi Prieto, Bs. As., Arg., 2010).
Likewise, he participated in various group exhibitions such as:  Pura Obsesión (Galería Praxis, Bs. As., Arg., 2017), Chamanes, (Galería Quadro, Bs. As., Arg., 2016), La Tinta Estallada, (Gachi Prieto, Bs. As., Arg., 2012) and Paisajes Imaginarios (organized by the Universidad del Salvador in the Buenos Aires Stock Exchange, Bs. As., Arg., 2007).
Lives and works in Buenos Aires. 

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