Armando Garlun

Armando Garcia Luna (A. Garlun) was born in 1953 in Monterrey, Mexico, when the country was in full cultural and intellectual growth, passed the modern age and the influence of the European Avant –garde movement in Mexico. Aware of it, and nourished from the current pictorial and scientific knowledge, he advanced in several professional and vocational fields.

His talent and creativity, and I would dare to say passion in the arts field, has been the engine in the search of the beauty and understanding of the human universe. He initiated his studies in the Plastics Arts simultaneously as a Chemical Engineering at the Universidad Autónoma de Nuevo León at the end of the 60’s. His duality between science and art make him move to California in 1975 to pursue a doctoral degree in chemist at USC. He moved to France for one year and returned to México city in 1981 where he worked in industry incurring at the same time in different fields as painting, stage sets, fashion design in theatre and TV,   becoming artistic director of soap operas for one of the most important television companies in Mexico as well as to produce several patents in the field of cement, material most used in his works.


Garlun’s scientific research and spiritual preparation has taken him to investigate, to risk and win; imagine, create and materialize; research and find and introduce us with a sequence, going from the absent of color through all color tones, to go as far as the pure blend of all of them.


His pictures challenge the spectator, so his eyes can find what emerges occult –intentionally or not- from the abstract forms – the shapes, color, approach, representation, light, shadows, the white or the color- and to complement them with his emotions and feelings, always searching for beauty and esthetics, to merge one glimpse into one look. Garlun presents his art to look at and through it. Takes from the raw material, which he knows microscopically, what it wants to transmit and achieves it through its form from its own materiality, and presents it to us in, such a way, immersing us in a world free of rules but full of colors and expressions. Millimetric precision in the use of elements, juxtaposition in its points (but not for pointillism), its lines, the use of sheets almost imperceptible to the eyesight, builds and immerses us to the crystalline world of his reality. Most of his series use relief building forms, forms for creating tales, tales telling stories, stories of the daily life, from his, ours or the world, including passion, agony, suffering, strength, love or will, which could be chaos or could end in peace.”