CARLOS MIRANDA. Drawing, painting.
He was born in Córdoba Unquillo of recognized artistic tradition, currently residing in Buenos Aires.
From boy felt penchant for drawing, where he showed outstanding natural skills.
National Technological University won the title of engineer.
He studied drawing and painting in the "expression" of the teacher Pedro Gaeta-president of the Argentina Society of Artists, where he acquired a solid artistic training.
In order to improve the technique of figurative painting, he currently attends Mercedes Fariña.
He has exhibited in group shows, shared and individual, receiving an honorable mention for his work "The Dream."
His work consists, in most part, by drawings and paintings of social issues with forays into fantasy.
Not belong to any movement within the plastic, in his opinion, "a work, to be successful, must meet the content, technical and aesthetic harmony, but its main value lies in what he says."
The work of Carlos Miranda said Master Pedro Gaeta: "We must highlight the good management of plastic values: balance in composition, precise definition of forms and shapes and harmony in the development of color, with the use of a chiaroscuro technique that helps create an atmosphere evocative and mysterious. "




COMMENT OF THE EXHIBITION HELD IN ARGENTINA ASSOCIATION OF ACTORS
Haydée Breslav
Art Criticism

BETWEEN THE SOCIAL REALITY AND THE HUMAN DRAMA

Carlos Miranda, two sides attending the themes of his work: the social reality, giving the last word "deep and pure sense," I wanted to Raúl González Tuñón, and human drama.
In a first approximation would appear that the drawings are devoted to the first side and the other paintings, a closer look to discover traces of both in all the papers that comprise this exhibition. After all, in any artistic discipline is verified that a work is always true testimonial, I have proposed or not the author.
In regard to the drawings, it is worth noting first the security line and the different values and white and gray that emerge from a precise shading and the result is a vigorous image and full of drama. Thus, the artist recreates the squalor suburban landscapes of those marginal environments and shows no gruesomeness or euphemism, the living conditions of vast sectors of our population.
Other drawings are notable for their dynamism, such as those displayed the masses who took part in episodes of our recent history. The critical view is softened in Flood, where the drama of the evacuees presents a feature of unexpected tenderness, as expressed in the old affectionate gesture, sitting on the roof of the flooded house next to the weeping woman, tries to comfort her and protect her in spite everything.
As for the painting of Miranda, can be said to be thoughtful and rigorous execution of a previous sketch, the balanced composition, l pastel palette and the wise use of chiaroscuro contribuyenb to develop original and attractive aesthetics.
The social message, although not as straightforward as that of the drawings, is just as intense and perhaps more profound, because this painting reflects the different consequences of postmodern individualism: pessimism, loneliness, isolation with its counterpart of exhibitionism, alienation ...
Sometimes society is paired with the fantastic: live with human monsters, demons act as carousel horses. Even more disturbing is the figure of the young cartonero lying in the street and joins the cards with which they cover.
The artist also uses the action of painting within a painting, and touches the viewer decide whether to abolish the border between the real and painted, or if the latter has created a new dimension. Absentee, the protagonist is faced with two windows: the real supposedly closed, the box opens to the street. The protagonist chooses to look through the open window ... but he is also inside the box. (I think of Baudelaire, in his praise of the closed window.)
But the painting of Carlos Miranda does not involve tax evasion. Just as the drawings, is profoundly consubstantial with his time and space attest these sidewalks, windows and characters that can only be located in Buenos Aires today.
Although the artist dispenses with the traditional iconography of the genre-just once see a couple dancing, and not even the protagonist, an unmistakable air quadruple measure extends throughout the work accompanying the tensions that traverse it, and originating from an unjust social order or the miseries of the human condition. Like a tango ... or life.

Haydee Breslav
April 2008