Fabian Solymar DAGOR is a leading figure in Venezuelan Street Art, translating his research into geometric abstraction and typography as he deconstructs iconic languages of representation and thus his works constitute a universe of reductionist abstraction which echoes the visual languages of modernity while also inserting itself in a deeply contemporary geometry. His research is transported to paintings on canvas, wood assemblage and Muralist interventions. For DAGOR Muralism plays a very important role in his practice, he believes fervently in the positive impact of public art on the culture and welfare of people, creating spaces that can offer a sense of community, places for contemplation and spaces to cement identities.
DAGOR has participated in international festivals of Muralism such as Meeting Of Style in Ecuador, various festivals in the United States, Wynwood and Art Basel Miami in Florida, and has also participated in various group and individual shows in Venezuela and overseas while painting murals in Caracas, Barinas, Miami, Brooklyn, Quito, Mexico City as part of a project with the United Nations in the largest mural gallery in the world.
Integrating the values from colors or luminosity allows me to obtain volumetric shapes through the amount of darkness and light perceived for each piece based on its color, altering it with the addition of white or black, searching the meeting of light and shade, all with the aim of creating impossible volumes.
This impossibility allows me to play with the viewer's perspective, the vision of the viewer as they interpret what they see becomes decisive for the objective of the work, showing the end result of an objectified idea and emotion that depend on personal perception of the observer.
"The way in which Fabián Solymar found his style is simpler than it is believed. The challenge of a graffiti artist is to turn letters into art. From the word he jumped to geometry. Then the selection of colors and shades completed the fusion of the images. He distorted the letters of his pseudonym so much that one day he recognized there was something else. And he called his style geometric abstraction of typography."