Arturo Montoya, a surreal, abstract and dematerialist artist, whether the subject of his work is
scenery of nature, an object, a building or a portrait, he expresses his art by exploiting its
perspectives, angles and composition in a dynamic manner, not only by the layout of the theme,
but with geometrical shapes and colors in a dramatic and insightful view of the subject matter.

He attempts to combine realism with fantasy in search of a unique way to dematerialize his
subjects  in order to trigger the observer’s imagination and to travel in what he calls
“The observer’s time dimension”.

His paintings deal with the past, present and future of his subjects, combined with a presence
of a living being such as a human shape, a face or a hand. Arturo’s fascination with “time travel”
becomes evident as the observer progressively walks towards the painting and finds new things
as he/she gets closer, as expressed in “Soul of the Beholder”.  In this piece the first observation
from a considerable distance is of an eye with its eyebrow, but as the observer gets closer
he/she can appreciate the face of a woman inside the iris.

Another painting expressing “Time Travel” is “Winds of Change”in which the theme is the past,
present and future as depicted by a sailboat at sea… this are my original paintings



Arturo was born in Miami, Florida. On October 19, 1957. He spent his youth between Puerto Rico, Venezuela, and the United States.

He then moved to Lincoln, Nebraska, were he graduated in Architecture at the University of Nebraska in 1981 and Master in Architectural Design in 1984.

He has a natural artistic talent since he was very young and during his college years he received formal art training.

Although he uses different media… such as oils, pastels, pencil, and combination of these…he has chosen acrylics and watercolors to express his current work.



From Peru, the Guacos are the pottery that the Incas made to be used in their various daily needs. On them, they express their activities, customs, nature and the celebration of their gods.

The Guaco collection attempts to express the Inca spirit in another dimension reflecting the influence of the gods up on their lives in an abstract vocabulary.

Each painting represents a singular pot in the shape of a living head or a god, which, in turn is formed by Inca activity in different episodes in time, like in a fourth dimension.

The rough strokes and tones are intended to provoke the observers to travel in time inside their minds to imagine, create and visualize what they want to see in each episode, therefore, becoming part of painting as things develop behind their eyes.




By appoitment only

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