Prudencio Villamor Lamarroza’s geometric optical acrylics on canvas and other abstractions done in a span of four years (2001-2005) challenge the eye and the mind. Squares, triangles and rectangles are the motifs of the geometric ops, multiplied many times over that they “bleed” to the four edges of each canvas. The abstracts (non-objective) “float” in a wide expanse of relatively uncluttered surroundings, almost always in primary colors.

Theme and variation

A small geometric shape (motif/theme) undergoes variations, with the resultant larger geometric shapes producing multiple illusions of depth. Most of the time, Lamarroza turns naughty because he cuts up his composition at the center where horizontal strips in varied colors connect the two groups of geometric ops at the left and rights sides, as in “C Ge-Op No. 27” done in 2001. The square, triangle and rectangle (STR) geometric shapes are in predominantly muted green in various values – resulting in a top-to-bottom viewing of sky rise buildings belonging to the international style. The viewer can see the buildings from the left to the right top corners without actually moving. An optical trick and treat game results: The buildings don’t diminish downward.

In “C Ge-Op No. 28” done in 2002, the STR motifs are again replicated with varying colors, against diagonal strips of blue and yellow. Visual trickery tickles the eye – resulting in the motifs doubling as octagons either clearly or subtlety. The squares, specifically, are akin to open boxes that lead the viewer to the background and back.

Rectangles in triangles, including rhomboids this time, challenge the eye to see beyond the obvious, from a bird’s eye view, as in “C Ge-Op No. 5.” The dual geometric shapes lead the eye diagonally rightward, but with the shapes sharing parts, the triangular rectangles also reverse the direction to follow a leftward diagonal pattern. Since the verticals separate and connect the shapes, this work is in a perpetual motion rightward, leftward, upward, and downward.

Despite his generally perceived self-effacing nature, Lamarroza painted his name AMOR LAMARROZA using the STR shapes with the primary and secondary colors in muted tones, as shown in “C Ge-Op No. 22,” a 2003 work.

In “C Ge-Op No. 35,” done in 2004, interconnected triangles, rectangles and squares in a predominantly warm color range, form ladder-like patterns that threaten to bolt beyond the four edges of the canvas. The shapes lean forward and upright to the viewer’s left side, if the work is viewed horizontally, or rightward, down, if viewed vertically. Or even upside down. Or down up. Whichever, this work is in perpetual motion by reason of the shapes and their varied colors.

More geometric shapes define “C Ge-Op No. 26” where numerous triangles have truncated tips. Leftward, rightward, downward and upward directions are clearly depicted simultaneously. Result: Big squares and rectangles that seem to be parts of the background, where none exists really, for they are parts of the shapes’ edges and color groupings.

Pictorial dissonance

Lamarroza’s other works categorized as non-objective, are diametrically different from the geometric optical. Various shapes – either with or without any outside referents – “float” against their backgrounds and initially create a pictorial dissonance. This is where Lamarroza again performs his naughty tricks, for the contours of the shapes are carefully studied and laid out for their pictorial connections. Where the shapes may be soft-edged or hard-edged, as in “C Non-O No. 36,” the background actually provides the connection by reason of soft-edged or sharp-edged repetitions.

Visual and tactile variations are noticeable in “C Non-O No. 4,” done in 2005. While the circle and the oval are rendered flat, they are broken by straight strips that provide surface tension and unity of opposites. The strips of the blue circle (left-right diagonal), run counter, direction-wise, to the straight vertical strips of the oval.

Visual and ideational challenges

All the geometric optical and non-objective works of Lamarroza in his recently-concluded show consisting of 41 original artworks provide visual and ideational challenges. The geometric opticals have in fact done the works of Vasareli not only one but many times better in terms of visual and ideational impacts. They manifest the workings of the “mind’s eye” and the “eye’s intellection” and in technical dexterity yet without equal.

Lamarroza has argued in his works the breadth and depth of the human eye and mind to operate within and without conventions, canons of art making, and conceptual frameworks.

Obviously, Lamarroza knew whereof he was proceeding in doing what he has done. Reality, after all, which is the basis of art, is not just anything palpable. It is also something which the eye sees beyond the ordinary, what the mind thinks above the commonplace, and what the hand can best actualize.

These count as the measures of significance.