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Born 1936 in Valera (Venezuela), lives and works in Paris since 1970

Originals / Multiple


The Geometric Abstraction Movement emerged in Europe in the early 1900’s. From this point, Mondrian’s Neo-Plasticism and Malevitch’s Suprematism provided the inspiration for their successors. While Itten and Albers were concerned with the rules of form and color, Moholy-Nagy pioneered the development of kinetic three-dimensional works. Afterwards, Herbin and Vasarely created an abstract pictorial alphabet, which predates the Kinetic and Op-Art Movements of the 1950’s and 1960’s. In the 1950’s, Jesus Raphaël Soto and Carlos Cruz-Diez came to Paris from Latin America, guided by their desire to paint in an abstract, constructive manner and became involved in the creation and development of the Optical and Kinetic movements.

Born in 1936 in the Andes-Cordilleras, Dario Perez-Flores studied at the Academy of Fine Arts in Valencia and the Central University of Venezuela. Under the influence of Soto and Cruz-Diez, Pérez-Flores joined the Optical Movement in 1970. During the 1980’s the Venezuelan artist began to add colors to his sequential paintings, naming the series “Prochromatique.“ These works create a subtle optical vibration that attracts the spectator towards their center, as if moved by a visual and mysterious emotion. Because of the use of verticals in relief against a linear background, Perez Flores’ paintings are similar to those of Soto, Agam and Cruz-Diez, yet distinguish them by the vibrant use of the color spectrum in producing subtle rainbow-like effects.

Goethe stated, “Color should be the concept of nature for the visual sense of the eye…. Within the sequence of the essential phenomenon of nature, color has a very high rank; though being assigned to a simple sphere, it displays itself to an incontestable richness…“ For Perez-Flores color acts foremost as a vehicle for creativity, perception, spirit and system. The series of diagonal, dynamic-chromatic works, created in the early 1990’s, showed these particular aspects of the artist’s color theory, especially the function of color as a subtle means to the realization of the phenomenon of space linked to the kinetic dynamism of the work.

In his recent work Perez-Flores tries to overcome his mathematical structures with a pictorial manipulation of space offering a system of formal plasticity. The paintings exhibit a simulated movement, which is achieved through combining colorful stripes painted on panel with rods that are sequentially suspended parallel to the surface of the painting. The spectator actually initiates the subtle movements of the works through their own introspection and perception of various coloristic values.


1957-61 Ecole d’Arts plastiques de Valencia, Venezuela
1965-69 Licences ès lettres, Université Centrale du Venezuela
1970-73 Arts plastiques à l’Université de Paris, Faculté de Vincennes


1961 Prix de sculpture, Salon « Casa de los Andes » Valencia Venezuela
1966 Prix de sculpture, 1er Salon des Jeunes Sculpteurs, Cité Universitaire, Caracas
1967 Prix de Sculpture, Université de Carabobo, V Salon d’art plastique, Maison de la Culture Maracay, Venezuela
1968 Prix Corporacion Venezolana de Guayana, II Salon des jeunes sculpteurs, Cité Universitaire, Caracas
1969 Prix Fundacion Belloso, Salon d’ Empaire, Maracaïbo
1970 Prix Julio Morales lara, Salon Arturo Michelena, Valencia, Venezuela
1984 Premier Prix de Peinture, Salon Arturo Michelena, Valencia, Venezuela

Numberous solo and group exhibitions worldwide

Public collections (selection)

Musée des Beaux-Arts, Venezuela

Galerie nationale d’Art, Caracas

Musée d’Art moderne de la Ville de Paris

Schweizerische Bank Gesellschaft, Zürich

Gallery Waitingroom Ingram, Monaco

South East Bank, Miami

Centre Apollo Lausanne

Caisse Nationale d’Assurance (CNA) Suisse

Museum Würth