Ciudad solar de tres tiempos
- Acrylic and wax on rice paper
- 142 x 55 cm
- 2026
- Enmarcación: No
- Certificado: Sí
$5.160
“A visual stratigraphy where the city, nature, and memory coexist under a single sun.” In Ciudad solar de tres tiempos (2026), Miguel Betancourt breaks traditional perspective to offer a vertical reading of time. Utilizing the transparency of acrylic and the organic density of wax on rice paper, the artist organizes the metropolis into three vibrant planes: the historical root in warm tones, the natural transition in greens and magentas, and the modern city rising toward an intense red sun. An artwork measuring 142 x 55 cm that functions as a totem of contemporary Andean identity.
Description
Ciudad solar de tres tiempos: A Vertical Narrative of the Metropolis
In this piece, Betancourt proposes an exercise in historical synthesis. The artwork should not be read as a static landscape, but as an accumulation of temporal strata defining the Latin American city.
Analysis of the Levels:
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The Lower Plane (Memory): Dominated by reds, oranges, and strokes suggesting vernacular and colonial architecture, representing historical foundations and the warmth of the earth.
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The Central Plane (Transition): A band of greens and magentas symbolizing the irruption of nature and the organic space attempting to persist amidst concrete.
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The Upper Plane (Modernity): Skyscrapers rise in cobalt blues under a circular sun, an energetic core unifying the composition and symbolizing the timelessness of the sun over the Andes.
The Materiality of Wax: The treatment of wax over rice paper (Xuan) endows the painting with a tactile and translucent quality. This technique not only protects acrylic pigments, but creates a patina reminiscent of ancient codices, elevating urban representation into a sacred or mystical category.
“I sought to capture how the city breathes across different eras simultaneously. It is not a landscape that merely occupies space, but one that also occupies time.” — Miguel Betancourt.
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“In Miguel Betancourt’s work, color is not mere filling; it is a living language that rescues the transparency of wax paper to remind us that light is the soul of form.”
Humberto Montero Estrella