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Milton Becerra, time traveler and explorer of vast territories, interweaves in his art forms derived from spatial-temporal sources which, being as diverse as they are distant, converge in a same revelation: they reflect the prodigious fabric of the universe. In these pieces, geometric forms — regular or irregular — function as supports for ludic looms. In relation to the loom, we know that countless peoples have used warps with lukewarm threads to achieve the tension required to weave those fabrics that served to create clothes, as well as to produce sacred canvases on which they drew the myths associated with their origin or the stories about their journeys. Milton Becerra builds his contemporary sculptures as unique looms, with a free play of combinations and irradiations between the color and the shape of the frame, and between those of the threads that function as superimposed wefts and project before our eyes in movement kaleidoscopes of amazing geometries. His creative thought was therefore initially molded by the contemplation of the river rocks on which the Pre-Columbian peoples inscribed the geometric forms of their myths, and by the oral traditions that record them. For this reason, in his structures there is an echo of those models of quantic physics that seek to harmonize the laws that rule the macrocosm — the movement of the stars, planets and galaxies — and the occurrences in the microcosm, which is equally infinite, in the interior of the smallest particles in creation. It was in the City of Light, which is currently one of the places where he lives, that he first combined rocks and cords in an installation he exhibited at the entrance of the 11th Paris Biennial, as an invocation to nature, the primordial source which also gives rise to the nests and labyrinths in his work, always tautened or structured with threads.
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