Tachira, Venezuela 1951
Milton Becerra moved to Paris in 1980 , where he currently lives and works.
His exhibition activities began in 1970, while still a student at the School of Plastic Arts Cristóbal Rojas. Between 1972 and 1973 he carried out research for his series on Vibro-hexagonal Volumes about Concrete art, Neo-plasticism, Kineticism, Generative art, and “op-art” tendencies.
He applies this knowledge to the development of irregular shapes called “Hexagonometrías” (Hexagon metric art) based on the arrangement of different modules in space from the theory of Kazimir Malevich’s “the White cube”, and philosophical concepts of Ludwig Wittgenstein in his “Tractatus lógicophilosophicus’. He also inquires about color, its behavior in space and forms division through chromatic ranges.
On his resulting works Venezuelan art historian Alfredo Boulton (1908-1995) wrote: “Milton Becerra’s artwork is characterized by his concern about volumes and strong structures that accompany the subtle chromatic features. We are, thus, in front of a solid object, but at the same time light and fragile.”
In 1973, his first exhibition of Vibro-hexagonal Volumes takes place at the “Ateneo de Caracas”, which includes a sound atmosphere, and his first meeting with Carlos Cruz-Diez, the world-renowned Venezuelan kinetic artist. That year Becerra won First Prize in the Third National Exhibition of Young Artists, with his Vibro-hexagonal Volume work “D”.
In 1976, after his first exhibition “Scheduled Modules” at the Caracas’ Museum of Contemporary Art, he begins a series of interventions in the natural landscape, to demonstrate the process of river pollution and devastation of the landscape, closely associated to the Land Art of the time, thus marking the beginning of the European movement in Venezuela. He also made a photographic record of each of these events, which were then exhibited and published several times. Becerra proudly recognizes that he is conveying Venezuelan art to any latitude because, for each piece that he makes, it is impossible not to feel attached to his land, especially his beloved Amazon.
Since 1980 –when Becerra participated as a guest at the XI Biennial of Young Artists of Paris– he applied these experiences in search of a new language and he began to explore immersive artworks, where stone and flax fibers are essential for the realization of his sculptures. From that moment, he began to investigate the ethereal movement –parts free of all body weight– made of threads of linen and cotton, where the geometry is generated by the intersection of lines created from a playful game with those elements. Materials such as fragments of pre-Hispanic figurines, semiprecious stones and crystals have provided endless creative possibilities in a work constantly renewed through a particular language that belongs to his creation, and whose ultimate meaning is revealed in this statement of the artist “The form exists because there is spirit.”
His artworks opened a sort of multidimensional geometric passages, which when installed in a specific place they speak to us about the architecture of the world.