Cesar Andrade studied at the School of Visual Arts in Barquisimeto, Venezuela. After having been a professor of visual arts in Acarigua, he went to visit Europe in 1968 and finally moved to Paris. He exhibited the following year his first "linigramas" which constitute for him the first in-depth studies on the line.
The extreme simplicity of the materials used to build his works contradicts the complex visual effect they produce. Painted wood panels in light shades dominated by white and on which he places ordinary nails without a head. Their tight and excessively precise alignment gives rise to form. One color is put on the nail shank while the other end is painted a much darker color so that the eye can more easily measure the size of these elements and follow the trace they leave on the panel. wood.
Thus, the straight line and the point, the two first elements of geometry, are the principles of distribution of nails. The full and the voids are balanced and give rise to the vibration of the surface. The diagonal and the oblique cause unexpected effects. They transform the surface into a grid whose complex structures reveal the combined influences of Mondrian's neoplasticism and Soto's Optical Art. The visual tension increases significantly where the nails are alternately square and angled, creating a controlled imbalance of pictorial space.
We understand that the major element of Andrade's work lies outside of his work itself: light. Direct lighting, coming from the opposite, would not allow to read the full depth. By directing this lighting on the sides, we perceive an image in negation that doubles that of the surface elements: the shadow. At this moment, the almost immaterial thinness of the nail is completed by its shadow and the vision of the work is radically changed. The physical surface has evaporated, the location of the materials has become blurred, the reflections of colors are dispersing.