Luis Alberto Hernández
BIOGRAPHICAL SYNTHESIS
Luis Alberto Hernández was born on November 15, 1950 in Puerto La Cruz, Edo. Anzoátegui, where he lived until he moved to Caracas at the age of fifteen. He has dedicated to the study of the deepest questions that have disturbed the human soul: occult philosophy, spiritual traditions, initiatory experiences, religions, magic, alchemy, the symbolization of the Divine, heaven and hell as metaphors of good and evil; knowledge these that endowed with spiritual content all the artistic reflection of him.
At the age of 18, he began drawing studies at the Francisco Pimentel Center in Caracas, later he studied at the School of Arts of the Central University of Venezuela and at the School of Letters at the Cristóbal Rojas School of Visual Arts. from Caracas, and at the Centro de Enseñanza Gráfica (CEGRA) in Caracas, he participated in courses on History, Criticism and Artistic Appreciation and History of Aesthetic Ideas at various cultural institutions in Caracas, and attends various Theology courses at the Institute of Theology for Religious (ITER) in Caracas, Venezuela.
In 1987, his first individual exhibition entitled "Poetics of the Sacred" takes place at the Cuevas Gallery in Caracas. Since then he has developed a large work that has managed to transcend national borders, with personal and group exhibitions presented in England, Germany, France, Monaco, Italy, Switzerland, Spain, the United States, the Emirates of Sharjah and Dubai, Egypt, the Sultanate. from Oman, Tunisia, Colombia, Cuba and Ecuador.
Hernández's artistic proposal delves into the different modes of expression of religiosity, to lead to a metaphor of the sacred that he has agreed to define as a Poetics of the sacred. His creations move away from the classical conceptions of the form in art and are linked to the valuation of religious emotion in greater proximity to an original vision of the world, as a revelation of the sacred, experienced as a mystery and never as knowledge. "Poetics of the sacred", "Ceremonials", "Epiphanies" "Sacred writings", "Ritual spellings", "Spells", "Spells", "Charms", "Devotions", "Theophanies", "Offerings", "Spirit and Memory ”, are some names of the exhibition projects that since 1989 identify the artist's intention to metaphorically build a connection with the sacred. His relationship with the transcendent denies all fidelity to a specific tradition or a particular doctrine and instead sees it as a diverse and complex cultural configuration. His artistic production, expressed through paintings, assemblages, installations and book-objects, is the declaration of a personal poetics that is anchored in spirituality with a universal meaning. Signs and symbols, from various cultures such as Arabic, pre-Hispanic, Christian, Hebrew, or from alchemy, magic, esoteric tradition or popular religiosity are combined in a "syntax" that calls for unity essential, evoking the idea of totality of the notion of the sacred.
Luis Alberto Hernández's work seeks to establish alliances between our little things and the infinite through an artistic discourse where the image acquires symbolic dimensions that allude to the ultimate essence of the religious fact, gathering through this search the longing for eternity, inseparable from all human consciousness. It is a kind of individual philosophy, a theory elaborated in and from the praxis of creating itself, which involves elements of the process (inspiration, skills), vital or existential circumstances (anguish, enlightenment) and ontological aspirations (what are we? What is sacred?). In this reflection, art links with religious experience, while both disciplines of the spirit constitute responses to the enigma of Creation. From art he takes the seductive power of images; of religiosity, his ability to go beyond the obvious. Numen and image are, then, the main elements of his work. We see, then, the persistence or the need for a plastic vehicle (signs, symbols) and the trust in an extra logical power - dreamlike revelations, intuition, ecstasy, rapture- The painter, evidently, speaks of something more than colors and lines; he refers to an inexplicable energy, unknown but irrefutable, that the human subject can "magically" channel. The magic is not just an energetic force. In the context of painting, it is also a grace or a gift that awakens, among the profane, prudent or enthusiastic behaviors, but never indifferent.
In 2000 Hernández decided to propose again an exhibition bearing the same name as that first "Poetics of the Sacred" which he considers an artistic investigation of a cyclical nature, as he retraces his own steps to resize his symbolic universe. . This exhibition had an itinerant character of two years duration; It began in Germany, then it was presented in Spain, it continued in the Miró Room of UNESCO in Paris, to culminate in 2002 at the Hart Gallery in California, United States.
Some of his most important solo exhibitions include the Cité Internationale des Arts (Paris, 1996), the University of Konstanz (Germany, 1997), the Wissenschaftszentrum (Bonn, Germany, 1997), the Center Civique Pati Llimona (Barcelona, Spain, 1999 ), the Center Culturel Jacques Brel (Thionville, France, 2000), the Haus Völker und Kulturen Museum in Bonn (Germany, 2000), the Girona Art Museum (Spain, 2001), UNESCO (Paris, 2002), the intervention of the Crypt of the Santa Eugenia Church during the XIV Festival of Biarritz (France, 2005), the Cloître des Billettes, Paris (France, 2009) and the Abbey of Cluny, Burgundy, France (2017).
To expose his particular vision of the sacred, Hernández has been invited to participate in different international artistic events, including the “4th International Arts Biennial of Sharjah” (United Arab Emirates, 1999), “The World's Longest Painting”, (Dubai , 1999), Muscat International Festival for Arts ”(Sultanate of Oman, 2000),“ Viatge i Diferència ”. Olot Cathedral, Catalonia (Spain, 2001), “VIII International Biennale of Cairo” (Egypt, 2001), 120 artists from 45 countries ”. Cite Internationale des Arts, Paris (France, 2005), “XX Festival Internacionale des Arts Plastiques de Mahrès” (Tunis, 2007), Venezuela Art Promotion. Cloître des Billettes, Paris (France, 2008), “L'UNESCO s'expose à Chenonceau”, Grand Galerie, Chateau de Chenonceau (France, 2009), “Fourth International Biennale for the Artist's Book”, Library of Alexandria (Egypt, 2010), “ART BOOK in Archivio”, Castel San Pietro Terme-Bo, Bologna (Italy, 2010), Latin Crash Civilization ”. Galerie Peripherie-Art, Zurich (Switzerland, 2010). “Venezuela in Arts, 6th Biennale internationale de l'art contemporain e monumental de Marcigny”, Center d’Arte Contemporain Frank Popper (Saône-et-Loire, France, 2011), “Piccoli, piccolissimi, anzi grandissimi. Libri di piccolo format and libri d'artista ”. Biblioteca Nacional Braidense, Milano (Italy, 2012), “CENTO + 1. Libri d'Artista del Micro al Macro”. Palazzo Trinci / Foligno, Perugia (Italy, 2013). Sixth International Biennale for the Artist’s Book, Library of Alexandria (Egypt, 2014). Spectrum Miami Art Show, (U.S.A., 2015), Art Palm beach International, West Palm Beach, (Florida, U.S.A., 2016). Seventh International Biennale for the Artist’s Book, Alexandria Library (Egypt, 2016). 21st Annual Boston International Fine Art Show (BIFAS). The Boston Center for the Arts (U.S.A., 2017). Moving Signs. Raw Space (Florida. USA, 2017). Pre-Basel Collective Exhibition 2018. Canvas Miami Gallery (Florida, USA, 2018). Alternating Current. Raw Space (Florida, USA, 2018).
His work has been dealt with both by specialized critics, as well as by scholars and researchers from other disciplines of knowledge: art historians, anthropologists, ethnologists, philosophers, psychologists, sociologists, writers and poets. Among these, the opinions of Venezuelans Belgium Rodríguez, Eduardo Planchart, Víctor Guédez, Cecira Armitano, Enrique Viloria, Juan Carlos Palenzuela, Katherine Chacón, Michaelle Ascencio, Gustavo Martin, Lelia Delgado, Martha de la Vega, Jaime López-Sanz, Gabriel stand out. Jiménez Emán, Carlos Contramaestre, José Pulido, Abel Ibarra and Álvaro Pérez Capiello; the Cubans Félix Suazo and Abdel Hernández; the Colombian Claudia Fernanda Barrera; the Argentine Cristina Rocca; the French Gaston Diehl, L´Altrange, Jean-Louis Poitevin and Jean Philippe Mournier; the Spanish José María Salvador, Carles Vivó, Gloria Bosch and Menene Gras Balaguer; the Germans Arno Dopychai, Elizabeth Weisser and Gabriele Schäfer, the Italian Alfonso Fausone; and the Arab World intellectuals Zouzi-Chebbi Mohamed Hassen, Talal Moualla, and Ashraf Aboul-Yazit.
He has received nine national awards. Among these, the recognition granted by the Venezuelan Association of Plastic Artists stands out, for its extensive international career and its contributions to national art, awarded in 2011 within the framework of the International Art Fair of Caracas.
For more than ten years, Hernández taught in the areas of Art History, Drawing, Aesthetics and Plastic Language at the Armando Reverón Institute of Higher Studies of Plastic Arts and at the Cristóbal Rojas School of Visual Arts in Caracas, Venezuela.
At the age of 18, he began drawing studies at the Francisco Pimentel Center in Caracas, later he studied at the School of Arts of the Central University of Venezuela and at the School of Letters at the Cristóbal Rojas School of Visual Arts. from Caracas, and at the Centro de Enseñanza Gráfica (CEGRA) in Caracas, he participated in courses on History, Criticism and Artistic Appreciation and History of Aesthetic Ideas at various cultural institutions in Caracas, and attends various Theology courses at the Institute of Theology for Religious (ITER) in Caracas, Venezuela.
In 1987, his first individual exhibition entitled "Poetics of the Sacred" takes place at the Cuevas Gallery in Caracas. Since then he has developed a large work that has managed to transcend national borders, with personal and group exhibitions presented in England, Germany, France, Monaco, Italy, Switzerland, Spain, the United States, the Emirates of Sharjah and Dubai, Egypt, the Sultanate. from Oman, Tunisia, Colombia, Cuba and Ecuador.
Hernández's artistic proposal delves into the different modes of expression of religiosity, to lead to a metaphor of the sacred that he has agreed to define as a Poetics of the sacred. His creations move away from the classical conceptions of the form in art and are linked to the valuation of religious emotion in greater proximity to an original vision of the world, as a revelation of the sacred, experienced as a mystery and never as knowledge. "Poetics of the sacred", "Ceremonials", "Epiphanies" "Sacred writings", "Ritual spellings", "Spells", "Spells", "Charms", "Devotions", "Theophanies", "Offerings", "Spirit and Memory ”, are some names of the exhibition projects that since 1989 identify the artist's intention to metaphorically build a connection with the sacred. His relationship with the transcendent denies all fidelity to a specific tradition or a particular doctrine and instead sees it as a diverse and complex cultural configuration. His artistic production, expressed through paintings, assemblages, installations and book-objects, is the declaration of a personal poetics that is anchored in spirituality with a universal meaning. Signs and symbols, from various cultures such as Arabic, pre-Hispanic, Christian, Hebrew, or from alchemy, magic, esoteric tradition or popular religiosity are combined in a "syntax" that calls for unity essential, evoking the idea of totality of the notion of the sacred.
Luis Alberto Hernández's work seeks to establish alliances between our little things and the infinite through an artistic discourse where the image acquires symbolic dimensions that allude to the ultimate essence of the religious fact, gathering through this search the longing for eternity, inseparable from all human consciousness. It is a kind of individual philosophy, a theory elaborated in and from the praxis of creating itself, which involves elements of the process (inspiration, skills), vital or existential circumstances (anguish, enlightenment) and ontological aspirations (what are we? What is sacred?). In this reflection, art links with religious experience, while both disciplines of the spirit constitute responses to the enigma of Creation. From art he takes the seductive power of images; of religiosity, his ability to go beyond the obvious. Numen and image are, then, the main elements of his work. We see, then, the persistence or the need for a plastic vehicle (signs, symbols) and the trust in an extra logical power - dreamlike revelations, intuition, ecstasy, rapture- The painter, evidently, speaks of something more than colors and lines; he refers to an inexplicable energy, unknown but irrefutable, that the human subject can "magically" channel. The magic is not just an energetic force. In the context of painting, it is also a grace or a gift that awakens, among the profane, prudent or enthusiastic behaviors, but never indifferent.
In 2000 Hernández decided to propose again an exhibition bearing the same name as that first "Poetics of the Sacred" which he considers an artistic investigation of a cyclical nature, as he retraces his own steps to resize his symbolic universe. . This exhibition had an itinerant character of two years duration; It began in Germany, then it was presented in Spain, it continued in the Miró Room of UNESCO in Paris, to culminate in 2002 at the Hart Gallery in California, United States.
Some of his most important solo exhibitions include the Cité Internationale des Arts (Paris, 1996), the University of Konstanz (Germany, 1997), the Wissenschaftszentrum (Bonn, Germany, 1997), the Center Civique Pati Llimona (Barcelona, Spain, 1999 ), the Center Culturel Jacques Brel (Thionville, France, 2000), the Haus Völker und Kulturen Museum in Bonn (Germany, 2000), the Girona Art Museum (Spain, 2001), UNESCO (Paris, 2002), the intervention of the Crypt of the Santa Eugenia Church during the XIV Festival of Biarritz (France, 2005), the Cloître des Billettes, Paris (France, 2009) and the Abbey of Cluny, Burgundy, France (2017).
To expose his particular vision of the sacred, Hernández has been invited to participate in different international artistic events, including the “4th International Arts Biennial of Sharjah” (United Arab Emirates, 1999), “The World's Longest Painting”, (Dubai , 1999), Muscat International Festival for Arts ”(Sultanate of Oman, 2000),“ Viatge i Diferència ”. Olot Cathedral, Catalonia (Spain, 2001), “VIII International Biennale of Cairo” (Egypt, 2001), 120 artists from 45 countries ”. Cite Internationale des Arts, Paris (France, 2005), “XX Festival Internacionale des Arts Plastiques de Mahrès” (Tunis, 2007), Venezuela Art Promotion. Cloître des Billettes, Paris (France, 2008), “L'UNESCO s'expose à Chenonceau”, Grand Galerie, Chateau de Chenonceau (France, 2009), “Fourth International Biennale for the Artist's Book”, Library of Alexandria (Egypt, 2010), “ART BOOK in Archivio”, Castel San Pietro Terme-Bo, Bologna (Italy, 2010), Latin Crash Civilization ”. Galerie Peripherie-Art, Zurich (Switzerland, 2010). “Venezuela in Arts, 6th Biennale internationale de l'art contemporain e monumental de Marcigny”, Center d’Arte Contemporain Frank Popper (Saône-et-Loire, France, 2011), “Piccoli, piccolissimi, anzi grandissimi. Libri di piccolo format and libri d'artista ”. Biblioteca Nacional Braidense, Milano (Italy, 2012), “CENTO + 1. Libri d'Artista del Micro al Macro”. Palazzo Trinci / Foligno, Perugia (Italy, 2013). Sixth International Biennale for the Artist’s Book, Library of Alexandria (Egypt, 2014). Spectrum Miami Art Show, (U.S.A., 2015), Art Palm beach International, West Palm Beach, (Florida, U.S.A., 2016). Seventh International Biennale for the Artist’s Book, Alexandria Library (Egypt, 2016). 21st Annual Boston International Fine Art Show (BIFAS). The Boston Center for the Arts (U.S.A., 2017). Moving Signs. Raw Space (Florida. USA, 2017). Pre-Basel Collective Exhibition 2018. Canvas Miami Gallery (Florida, USA, 2018). Alternating Current. Raw Space (Florida, USA, 2018).
His work has been dealt with both by specialized critics, as well as by scholars and researchers from other disciplines of knowledge: art historians, anthropologists, ethnologists, philosophers, psychologists, sociologists, writers and poets. Among these, the opinions of Venezuelans Belgium Rodríguez, Eduardo Planchart, Víctor Guédez, Cecira Armitano, Enrique Viloria, Juan Carlos Palenzuela, Katherine Chacón, Michaelle Ascencio, Gustavo Martin, Lelia Delgado, Martha de la Vega, Jaime López-Sanz, Gabriel stand out. Jiménez Emán, Carlos Contramaestre, José Pulido, Abel Ibarra and Álvaro Pérez Capiello; the Cubans Félix Suazo and Abdel Hernández; the Colombian Claudia Fernanda Barrera; the Argentine Cristina Rocca; the French Gaston Diehl, L´Altrange, Jean-Louis Poitevin and Jean Philippe Mournier; the Spanish José María Salvador, Carles Vivó, Gloria Bosch and Menene Gras Balaguer; the Germans Arno Dopychai, Elizabeth Weisser and Gabriele Schäfer, the Italian Alfonso Fausone; and the Arab World intellectuals Zouzi-Chebbi Mohamed Hassen, Talal Moualla, and Ashraf Aboul-Yazit.
He has received nine national awards. Among these, the recognition granted by the Venezuelan Association of Plastic Artists stands out, for its extensive international career and its contributions to national art, awarded in 2011 within the framework of the International Art Fair of Caracas.
For more than ten years, Hernández taught in the areas of Art History, Drawing, Aesthetics and Plastic Language at the Armando Reverón Institute of Higher Studies of Plastic Arts and at the Cristóbal Rojas School of Visual Arts in Caracas, Venezuela.
STATEMENT
My work intends to establish ties between our earthly limitations and the Infinite through an artistic discourse where the image acquire symbolic dimensions that refer to the ultimate essence of religion, picking through this search the longing for eternity, inseparable from the human conscience.
It is a sort of personal philosophy, an elaborated within and from the praxis of creation that involves elements of the process such as inspiration and abilities; vital or existential circumstances (anxieties, illuminations); and ontological aspirations (What are we? What is the Sacred?). In this reflection of his art is linked to a religious experience, since both disciplines of the spirit represent a response to the enigma of Creation.
"Art takes the seductive power of images, of religiosity, their capacity to go beyond the evident. Numen and image are, thus, the main elements of Luis Alberto Hernandez’s work. His Poetry of the Sacred unveils for us the persistence or the necessity of artistic elements (signs, symbols), and a firm conviction in an extra-logic potential (dream revelations, ecstasies, intuitions, rage). This artist evidently speaks of something more than the use of colors and lines; he refers to an unexplainable energy – unknown, but indisputable since human beings can conduce it magically. Magic is not only an energetic force. In the art context, it is also a grace or gift that awakens prudence or enthusiasm among spectators, but never neutral reactions."
It is a sort of personal philosophy, an elaborated within and from the praxis of creation that involves elements of the process such as inspiration and abilities; vital or existential circumstances (anxieties, illuminations); and ontological aspirations (What are we? What is the Sacred?). In this reflection of his art is linked to a religious experience, since both disciplines of the spirit represent a response to the enigma of Creation.
"Art takes the seductive power of images, of religiosity, their capacity to go beyond the evident. Numen and image are, thus, the main elements of Luis Alberto Hernandez’s work. His Poetry of the Sacred unveils for us the persistence or the necessity of artistic elements (signs, symbols), and a firm conviction in an extra-logic potential (dream revelations, ecstasies, intuitions, rage). This artist evidently speaks of something more than the use of colors and lines; he refers to an unexplainable energy – unknown, but indisputable since human beings can conduce it magically. Magic is not only an energetic force. In the art context, it is also a grace or gift that awakens prudence or enthusiasm among spectators, but never neutral reactions."
CURRICULUM VITAE
Luis Alberto Hernández was born on November 15th of 1950 in Puerto La Cruz, Venezuela. At the age of 18 he began drawing lessons at the Francisco Pimentel Center in Caracas and subsequently conducts studies at Central University of Venezuela obtaining degrees in Art and Literature. In various cultural institutions in Caracas, he also studies at the Cristóbal Rojas School of Visual Arts, Graphic teaching Center (CEGRA), theology at the Theological- Institute for the Religious (ITER), and participates in numerous lectures about History, Art Appreciation, Art critique and History of Aesthetic Ideas. Hernández was a university professor for over ten years in Art History, Drawing, Aesthetics and Visual-Art Elements at the Institute of Advanced Studies of Visual Arts Armando Reverón and the School of Visual Arts Cristobal Rojas in Caracas, Venezuela.
SOLO EXHIBITIONS
2017 - Cluny Cathedral, Burgundy, France.
2013 - Palazzo Trinci / Foligno, Perugia, Italy.
2012 - National Library Braidense, Milano, Italy.
2011 - Centre d'Art Contemporain Frank Popper. Saône-et-Loire, France.
2010 - Castel San Pietro Terme-Bo, Bologna. Italy.
2009 - Cloître des Billettes, Paris in France.
2005 - Crypt of the Santa Eugenia Church, during the XIV Festival of Biarritz in France.
2005 - Cite Internationale des Arts, Paris. France.
2002 - UNESCO in Paris, France.
2001 - Museum of Art of Gerona in Spain.
2000 - Haus Völker und Kulturen Museum in Bonn, Germany.
2013 - Palazzo Trinci / Foligno, Perugia, Italy.
2012 - National Library Braidense, Milano, Italy.
2011 - Centre d'Art Contemporain Frank Popper. Saône-et-Loire, France.
2010 - Castel San Pietro Terme-Bo, Bologna. Italy.
2009 - Cloître des Billettes, Paris in France.
2005 - Crypt of the Santa Eugenia Church, during the XIV Festival of Biarritz in France.
2005 - Cite Internationale des Arts, Paris. France.
2002 - UNESCO in Paris, France.
2001 - Museum of Art of Gerona in Spain.
2000 - Haus Völker und Kulturen Museum in Bonn, Germany.
COLLECTIVE EXHIBITIONS
2018 - Pre-Basel Collective Exhibition 2018. Canvas Miami Gallery. Florida, USA
2018 - Alternating Current. Raw Space. Florida, USA
2017 - Boston International Art Show. Boston. USA
2017 - Moving Signs. Raw Space. Florida. USA
2017 - "Cluny Cathedral", Burgundy, France.
2013 - "CENTO + 1. Libri d'Artista Micro to Macro". Palazzo Trinci / Foligno, Perugia. Italy.
2012 - "Piccoli, piccolissimi, anzi grandissimi. Libri di piccolo format e libri d'artista". National Library Braidense, Milano. Italy.
2011 - "Venezuela in Arts, 6ème Biennale internationale de l'art contemporain and monumental Marcigny" Centre d'Art Contemporain Frank Popper. Saône-et-Loire, France.
2010 - "Latin Crash Civilization" Peripherie-Art Galerie, Zurich. Switzerland.
2010 - "ART BOOK in Archive" Castel San Pietro Terme-Bo, Bologna. Italy.
2010 - "Fourth International Biennale for the Artist's Book" Library of Alexandria. Egypt,
2009 - "L'UNESCO s'expose à Chenonceau" Grand Galerie, Chateau de Chenonceau. France.
2008 - “Venezuela Art Promotion” Cloitre des Billettes, Paris. France.
2007 - "XX Festival Internationale des Arts Plastiques of Mahrès". Tunis.
2005 - “120 artistes from 45 pays " Cite Internationale des Arts, Paris. France.
2001 - "VIII International Biennale of Cairo". Egypt.
2001 - "Viatge i difference" Cathedral of Olot, Catalonia. Spain.
2000 - "Muscat International Festival for Arts". Sultanate of Oman.
1999 - "The World's Longest Painting". Dubai.
1999 - "4th International Arts Biennial of Sharjah". UAE.
2018 - Alternating Current. Raw Space. Florida, USA
2017 - Boston International Art Show. Boston. USA
2017 - Moving Signs. Raw Space. Florida. USA
2017 - "Cluny Cathedral", Burgundy, France.
2013 - "CENTO + 1. Libri d'Artista Micro to Macro". Palazzo Trinci / Foligno, Perugia. Italy.
2012 - "Piccoli, piccolissimi, anzi grandissimi. Libri di piccolo format e libri d'artista". National Library Braidense, Milano. Italy.
2011 - "Venezuela in Arts, 6ème Biennale internationale de l'art contemporain and monumental Marcigny" Centre d'Art Contemporain Frank Popper. Saône-et-Loire, France.
2010 - "Latin Crash Civilization" Peripherie-Art Galerie, Zurich. Switzerland.
2010 - "ART BOOK in Archive" Castel San Pietro Terme-Bo, Bologna. Italy.
2010 - "Fourth International Biennale for the Artist's Book" Library of Alexandria. Egypt,
2009 - "L'UNESCO s'expose à Chenonceau" Grand Galerie, Chateau de Chenonceau. France.
2008 - “Venezuela Art Promotion” Cloitre des Billettes, Paris. France.
2007 - "XX Festival Internationale des Arts Plastiques of Mahrès". Tunis.
2005 - “120 artistes from 45 pays " Cite Internationale des Arts, Paris. France.
2001 - "VIII International Biennale of Cairo". Egypt.
2001 - "Viatge i difference" Cathedral of Olot, Catalonia. Spain.
2000 - "Muscat International Festival for Arts". Sultanate of Oman.
1999 - "The World's Longest Painting". Dubai.
1999 - "4th International Arts Biennial of Sharjah". UAE.
COLLECTIONS
- Library of Alexandria. Alexandria, Egypt
- UNESCO. Paris, France
- Archive Libri d'artista. Milano, Italy
- Collection of Latin American Art. University of Sussex, England
- Cité Internationale des Arts. Paris, France
- Diocesan Library § Cologne Cathedral. Germany
- Arts Fund Mahrès Festival, Tunisia
- European-Caribbean Association. Konstanz, Germany
- Bolivar Museum. Basque Country (Spain)
- Museum of Fine Arts in Sharjah. UAE
- Al Maja. Dubai. UAE
- Royal Collection. Sultanate of Oman
- Bolivar Hall. London, England
- Embassy of Venezuela. Paris, France
- BIV. Miami, Florida, United States
- Casa de las Americas. Havana, Cuba
- Museum of Contemporary Art. Caracas, Venezuela
- Museum of Fine Arts. Caracas, Venezuela
- Jacobo Borges Museum. Caracas, Venezuela
- Museum of Contemporary Art Mario Abreu. Maracay, Venezuela
- Museum of Modern Art in Merida, Venezuela
- National Art Gallery. Caracas, Venezuela
- National Cultural Council. Caracas, Venezuela
- Central Bank of Venezuela. Caracas, Venezuela
- National Library. Caracas, Venezuela
- Private and corporate collections national and international.
