…Gerardo Liranza delights in the ruins, in the memory that evokes what they once were, the identity of a nation
that in them -in the ruins- she finds the decomposition of what identified and named her.
With a palette that interacts between black and white passing through gray tones, Gerardo makes his influences visible
that can be traced from Georges Braques, Meidner to immerse themselves in the disconcerting tones of
Gerhard Richter. His painting doesn't look like anything; in any case, his painting is a monument in which the ironic
deconstruction brings out a new nature. The contemplation of the ruins, the sense of abandonment that in them
prevails, underlines the desolation.
