Born 1936 in Valera (Venezuela), lives and works in Paris since 1970.
Bachelor ́s Degree in Literature, Universidad Central de Venezuela (UCV) Caracas, Venezuela. Dario Perez Flores begins his artistic career in Venezuela in 1961. He participates in different visual arts and sculpture exhibitions in Venezuela and works as a professor. He used to visit the metallurgy workshops from the school of Engineering at the UCV to experiment with different materials like metal, Plexiglas and wood.
In 1970 he achieves a scholarship and moves to France. He studies Art History at Université de Vincennes- Paris VIII. It is during this time that Dario meets Frank Popper who was Professor Emeritus of “Aesthetics and the scienti c fundaments of Art” and was presenting his doctoral thesis on Kinetic Art. Dario underlines Popper ́s great in uence over him
That same year, Dario does his rst kinetic works with vertical movement, Plexiglas sculptures with interchangeable mobile elements, completely colorless. By October, still in 1970, he will hold his first show in Europe along with his brother Rafael, who had prepared the ground for him in the prestigious Gallery Suzanne Bollag in Switzerland, where he had already had a show in 1969.
In 1973 Dario introduced his rst reliefs, motor powered mobile wefts, whose white lines move at the same time vertically and horizontally over a dark background, producing an interesting spatial relationship. These pieces will become key to
By 1976, Dario nally gives in to color. However the use of contrasting black and white will not disappear completely nor the scale of grays that will allow him to elaborate his optical assemblages.
Frank Popper will recognize the value gained with these “incredible dynamic assemblages” by Dario, once color is applied to them. According to the theorist, Dario Perez Flores moves away from the quantitative theories of color proposed by Newton and gets closer to Goethe ́s theory, choosing the primacy of sensations associated to color and the importance of the perceptive ability that we have over color. Dario reads most of the literature about Color Theory, but he confesses that his observation of color shades in nature and his perception of change with European seasons (which are new to him) make him understand that there is much more information about color happening around us that in textbooks.
Denise Rene emphasizes “Dario ́s authentic creative spirit, whose work never ceases to evolve” and so, she invites him to hold an individual show in her gallery in 1981.
From the 80 ́s to this day, Dario develops a profuse “color grammar”. He introduces “Prochromatiques”, art pieces derived from his experiments with mobile elements. The background of the piece has a repetitive element in which there is a white and black color gradation, alternating with colored bands. Contrasting with this background, we nd a profusion of colored sticks that offer body and equilibrium to the piece, generating chromatic correspondences by contrast or resemblance with the background. The resulting vibration depends on the viewer ́s displacement and sensibility towards the piece; he is being conditioned by his own physical and psychic abilities.