After a brief period during which he painted primarily small and medium-sized works, Perez Franco embarked upon a series of expansive canvasses of up to ten feet in length. In figurative paintings of such large dimensions, focus may be dominated by almost life-sized forms or vast areas of uniform color that can confound a composition and shroud contextual intent if not implemented properly. Perez-Franco's design theories shine in this format.
Never a realist, as objects and forms approach real-life proportions, he intensifies his trademark figurative distortion to maintain control of balance and focus, preferring basic lineage and outlines to define the elements of his vision rather than represent them accurately. To avoid overwhelming the observer with imposing glares, Perez-Franco offsets the faces slightly, thus retaining the non-confrontational, inviting qualities that characterize much of his work. Colors, while still rich, are tempered slightly and blended uniformly to avoid clashes as the mind registers changes slower than the eye when traversing extensive areas.
Portraiture
"...Perez-Franco injects his soul into receptive subjects, relaying a positive message through incarnate figures and stimulating forms..." Prof. Paul Leiber Ph.D.
"...Perez-Franco offers an intense portrayal of our society, capturing the essence and subtleties of each diverse segment of its complex heritage, crystallizing natural human emotions and extracting even the most minute traces of beauty and grace from places that nary an untrained eye could." Victor Fuenmayor, Ph.D.
Musical
Flamboyant carnivals with dazzling costumes. Elaborate parade floats and endless samba are Brazil's trademark. In neighboring Uruguay, late-summer festivals evoke similar mass appeal but with a very distinct style. While Uruguayan music seems to me most notable internationally through the tangos of Carlos Gardel, center stage on the streets of Montevideo during carnival time belongs to the rhythmic drumming of "La Murga" or "El Candombe."
After heating, stretching and cooling leather coverings over carved wooden drum shells or "tambores," small bands of "Murgistas" take to the streets in the early hours for the traditional call to the carnival. Rich, melodic beating continues for hours as they walk slowly from street to street, gathering adults and children along their journey to one of hundreds of local meeting grounds where great entertainment, outstanding food and the spirit of communal brotherhood are celebrated round-the-clock.
Carlos Perez-Franco captured the flavor and essence of this important local tradition as well as the political and social impact in three series: "El Candombe y Las Tamborileras," "Carnaval Uruguayo" and "La Musica."
