ART AS A SOCIETY'S MIRROR

  Both the individual and the expressions of his unique insights are subject to different influences of social order. It is a feedback process between the being and his consciousness. In the specific case of artistic expression and its correlation with the socio-historical space, it is simply impossible to separate one from the other. Additionally, it is also impossible for art not to reflect the needs and traits of the idiosyncrasies of the environment it is created in. Undoubtedly, the work of art can externalize the social manifestation in different ways, not responding to a preset methodology. The art recognizes the emergence of social facts and in its own way it dissects, digests, and prints on a single and unique vision.

  Therefore, the relationship between the figure of the artist and his physical environment, works in a diastole - systole movement. The influence of one over the other is simply eternal. Whichever the physical context is, - a city, the nature - it moves the invisible hidden strings that pull the creator's mind towards the discovery of a personal language.

ARTIST'S HISTORY IS THE HISTORY OF THE SOCIETY HE LIVES IN

  His work speaks about his social reality. His city is a living entity, an organic entity which suffers constant mutations. In the case of Paul AmundaraĆ­n, he is aware of Caracas' socio-cultural degeneration and its relation with time. His hometown consists in a very complex city known for a high crime-related violence and a desensitized society in which life and death as values are completely distorted. Caracas goes away from being a metropolis, a city with measure, (metro, prefix. from the greek: measure) to become a metapolis an organic city, diffuse, homogeneous, singled out by an anarchic and chaotic force. (meta, prefix. from the greek: outside the normal limits of something) Both in a material - tangible dimension, (architecture, for instance) and in a human - sociological one.

  Amundarain carefully studies the violence and aggression in a society separated by an undeniable abyss that radically differentiates the citizens even though they are forced to inhabit the same physical space of a place that seems to scream desperately.

  The young artist understands how the economical, social, cultural and political dimensions have developed a series of consequences and have conditioned the present time and its urban and sociological landscapes. Caracas' scars will always be present in its history. They have an eternal sense and are part of its contradictory identity. The scar of the paradox. Its social contrasts are manifested in its visual and spatial contrasts. In this way, Amundarain's various languages and techniques correspond to Caracas' heterogeneity.   Caraquenian artist metapolis' chaos and anarchy are the fundamental features of human relationships that he daily perceives. The artist takes the daily life and raises it to a higher symbolic level. He narrates the issues of our past, the problems of our contemporary moment and virtually, he predicts the future.