His poetic effusiveness is extraordinary. Víctor Piverno is a cynic person with silky hands who is abandoned to the search of sublimity, whether in the chambers of memory, in the interstices of logic or the incidental character of nature. He practices a sort of conceptualist heterodoxy in which the usual deconstructive methods are used with a lyrical precision and dexterity that remind of Surrealism: he inserts endearing and fascinating icons into our consciousness.
His artistic procedure has gone through different methods, from the manipulation of images, the intervention of small fragments of reality and cartography, to the simulation of paradoxes and unlikely situations. In each case, he deposits a note, a sign or a glow over the reality, which is capable of giving it a chameleon-like face from which extraordinary things emerge. We shall never find him angry or threatening. His artworks generate excessive tenderness, backed by the fertility of an unrivalled aesthetic skill.
On the other hand, his artistic proposal talks about the des-virtualization of all those elements in life that cling to from their eminent conventionality. Therefore, he is always transforming decadence into nature, and what is fertile into material. Perhaps this attempt of subverting the logical rhythms of civilization and its essences seeks for nothing else that releasing the concept that lies behind each object and tests its capacity, its representative efficiency, and its organic nature. So he explores the allegorical ability of the garden taxonomy in a sensually dangerous and hurtful look, of poignant ways. Or the powerful attraction of the concept of gold in the courtesan humility of foreign, loosen, undone objects.
His artistic attempt constitutes a sort of hyper-realism that demolishes, not the sensible world, but its taxonomies and our knowledge, for he knows the world is not more than a human construction, sometimes not so well intentioned; that Earth offers more than what we fancy with the reason.
