In the last stage of Alberto Revelo, his paintings have taken the place of the imagination and the playful, the color becoming more independent flat throwing some light contrasts. At this stage the forms seem to break, dislocate, but the fund remains estn premeditated and controlled by its creator, the lines and circuits spots move as reflecting constellations of cities are signs that confirm ancestral presences, signs coming from elsewhere, quizde distant worlds. Interestingly, the reception, the viewer's active site grows, much more than in his still lifes, you can almost say that the audience becomes co-creator ycmplice of these philosophies, expressions ESTs lyric. The meaning is not as hermetic, now is the result of the participation between the consciousness of the artist reflected in the table and the spectator's consciousness that approaches and retreats to focus his eyes. Alberto Revelo esthaciendo a painting allusive, suggestive and not descriptive, not to put all but only hint at, imply that in this way since its inception has been building: a sacred conception of painting and silence. In general, the Master reveals is a poet of the painting, and his work is passionate aesthetic futuristic fabrics, with a feast of color and imitation plastic and aesthetic that borders, and with Impressionism, and the Cubism and Surrealism. Sometimes it sticks to the past, sometimes you forget the history and enter into the concerns of science ficciny the technology. However, it soon seems to refocus in a very particular line: the bodegn. Where obedience to the climate of Bogota, the artist's color becomes CLID, the texture is more evident, mstctil under the fusion of Pointillism and Impressionism. A travs of bodegn Alberto Revelo achieves a better and more thorough understanding of light and its effects on the shapes. His painting leaves a rich experience with the armed chromatic, the composiciny the lighting. Among the advantages of experimenting with still life est, first, the stimulus to the choice of objects% u2013tan cents as symbolic that seem to hover between funds yellows, browns and the atmosphere of tranquility and harmony a second, creativity against the possibility of the composition, the minutiae of drawing and its various points of view, and third, the experience of the natural lighting coming from the front and artificial light, metaphysics created to give symbolic meaning to the picture. Qusentidos loaded these pots?, Those fruits? Container shapes that evoke the ventral matrix TELRIC, we do not know if you are empty or full, but you are alldndose, such as river esperndonos uterine and rituals of birth and death. Its round shape, sensual, provocative, erotic lashes are small rolling on the imagination of the body and look. X amorOleos/Lienzo70 Suns 100 cms X 1.17 Oleos/Lienzo1.50 omen Dulce Mts. EnigmaOleos/Lienzo1.05 travelers X 0.85 mts. Clay Forest No2Oleos/Lienzo81.5 X 62.5 cms X FuturoOleos/Lienzo1.50 From 1.17 Mts. The Mandel daOleos/Lienzo50 X 70 cmsRef: Fusion of AmorOleos/Lienzo92.5 23 X 65.5 cms X 70.5 LunaOleos/Lienzo94.5 Flashes cms ________________________________________ STUDIES: o Plastic Arts at the Institute of Popular Culture IPC. Cali 1992. or History of Art, Museum Montaa Yesid but so autodidctica abordinicialmente electronics studies, Sociology, Philosophy and psychoanalysis. ACTIVITIES ________________________________________ or since 1985 involving two cultural magazines, ending as editor of one of them in 1988. Practice or photography. His favorite game Chess. He has participated in some magazine and newspaper in Bogota, as a columnist. ________________________________________ AWARDS - AWARDS 1st Prize Call or Nveles or 1st Prize Artist Celebration of America Meeting of Cultures - Africa - Europe, CVC Cali 1992 or X Anniversary Guest Cooperative "COOPEDACC" Hall of characters, International Pier EL DORADO, Bogot, October 1993 or Prize, 1st Salon of Plastic Arts Association, Cultural Center Andrmeda Galera, Bogot, October 1995 ________________________________________ EXHIBITIONS 1990 House of Culture. 1990 Cali Window Art Galley. Cali 1991 CVC Exhibition Hall, Cali. 1991 Universidad del Valle 1992 Salon Simon Bolivar, Cali 1993 Exhibition Hall of the State Bank, Cultural Center-1994 Popayn Aurelio Arturo, Bogot. 1995 Municipal Institute of Culture and Tourism, Ibagu, Tolima 1996 Hotel La Fontana, Bogota, 1997 Casa de la Cultura, Banco Livestock Bogot1998 Hotel La Fontana, Bogota, 1999 Casa de la Cultura, Banco Livestock Bogot , 2001 Salon Signs and Law. Congress Republic. 2004 Hotel BogotRoyal. 2005 Ministry social PROTECTION. ________________________________________ ICESI EXHIBITIONS 1991. Institute for Advanced Studies. Universidad San Buenaventura Cali 1991 1992 Javeriana University, Cali 1994 Art & Poster Gallery, 1996 Exhibition Hall Bogot JIMENES GONZALO DE QUESADA. Salon 1998 3rd Rotary Club of Bogot, Bogot ChicCentro Italian. 1998 II Bienal de Arte de Suba, Bogota. ExpoboyacCorferias 1999, Bogot, 2000 Pavilln Suites Hotel. ChicBogot. Caro Gallery LLC 2000 NEW Orlens. EU 2001 Salon Signs and Law. Congress of the Republic .- 2001 FENALCO Art Galley, 2001 Galley Carrin Vivar Bogot, Bogot. Participated in a large auction of American Art in PRESENTING SPONSOR Professional and Scientific Associates, New York, October 1997 1998 -1999 Lery Galera Exhibition in 2000, EU 2000 New York auction of contemporary art 2001 Hotel Miramar Panam 2002 Participation in the book, Colombia Art, International edition. His work is in more than 30 passes.