Carlos Eduardo Penagos Valencia, Colombian (1957 - )

Born - Ibague, Colombia, 1957


1981 1998 Master of Fine Arts. Specializing in Painting, National University of Colombia.


2001 Miniformato Gallery, Bogotá D.C.

Hausmusik 1997, Bogotá D.C.

1990 Club Círculode Ibague, Executive Ibagué.Club, Ibague.

1997 Chamber of Commerce, Solo Exhibition, Bogotá, Colombia.


2004 Gallery Goyas. Bogotá, Colombia

2003 Francisco Nader, Latin American Art. Santo Domingo, Dominican Republic.

Cecilia Gomez Gallery 2001, Santa Barbara. Bogotá, Colombia.

2000 Gallery Miniformato. Bogotá, Colombia

1999 Latin American Art Gallery, Beverly Hills. Los Angeles, USA. Drawings

1998 Drawings, Gallery Andromeda. San Jose, Costa Rica. Gallery Goyas. Bogotá, Colombia.

1994 Chamber of Commerce El Poblado. Medellin, Colombia.

1993 108 Gallery. Lima, Peru. Form and Color Colombia. Bogotá, Colombia.

1990 Colombia, France, Poetry of Two Continents, Biblioteca Luis Angel Arango. Bogotá, Colombia.

1989 Five Painters, Gallery Workshop. Bague, Colombia.
IV Colombian Culture Festival in Switzerland. Bern, Switzerland.
Anonymous End of the Century, Santa Fe Gallery, Planetarium. Bogotá, Colombia.

1988 Arte Joven de La Universidad Nacional, Bogotá 450 al1os, Museum of Modern Art, National University.

1987 Four New Painters, Painters Tolimenses, Banco de la República. lbagué. Colombia.

1981 Hall Cano, Universidad Nacional. Bogotá, Colombia.


2004 Newspaper Tolima 7 days.

1997 Book Artists of Tolima, Editorial Pijao. lbagué.
Paper Painters of Tolima, Siglo XX.

Book Illustration 1995 "Once the Sea" by Jorge Eliecer Pardo. Form and Color Book Colombia. Bogotá, Colombia.

It is the search for identity, what a thing looks like herself and nothing else, is its own; Penagos Valencia is betting so. These figures torn his strong momentum in response to aggressive experience that characterizes today's world, if the fabrics are a reflection of one act of the artist, who makes a commitment to the plastic, my goal is to intervene in reality, breaking the tradition, convention, his act is visceral, the material, "that noble battlefield," where one picks up a plastic way pictorial code, intended to convey this desire to capture conternporáneo quc what you feel and not what is ; the bill, the process is moving, there is no boundary between the stroke and the phone line - figure, the trace of the tool is the way to the texture, to touch the subject. The cloth daubed graffiti is more than a trip to the essentials, painting. 1 ay in his works a series of figures (binomial), appear to musicians and their instruments, are one, inseparable act to find the melody in the superlative! Cic vital to this proposal.

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