Over the past 15 years Ral Veroni has employed a wide variety
of media in the realisation of his artwork: printmaking, painting,
poetry, digital art and a diverse series of artistic interventions
in public life.
These changes in genre without doubt reflect a restless nature.
Given his background in printmaking - his father was the Italian
artist and printmaker Raoul Veroni – it could also be regarded
as a reaction to the emphasis which other printmakers place on the
perfection of technique above aesthetical or conceptual concerns.
Perhaps it is as he says – in an effort to simplify –
that everything is dependent on economic circumstance: “If
I have money I paint, if I have less I draw and if I am impoverished
In all his projects Veroni demonstrates the ability to adapt the
medium to the message -most often as a survival strategy- as identified
by Moira Jeffrey in her article Caped
Crusaders, Kings, Clowns and other City Types.
The constant political upheaval in his country, Argentina, has also
contributed to the variety of projects undertaken. The work realised
in Buenos Aires reflects these changes, taking the city and its
history, the society and its collective memory as references.
In the majority of the Buenos Aires projects it is possible to observe
a strong critique of the ups and downs of his country: a political
critique in Welcome to the Circus, an economic one in Struggle for
Life, a social critique in Buenos
Aires and The Nomad Exhibition, or a historical one in La
Different cultures and landscapes have also played their part in
the diversity of his approaches in his artwork. Since 1996 -as a
result of his travels around the USA, Mexico and the UK- his production,
particularly his artist’s books, have moved to more abstract
subjects, such as in Vacuum, or to the self-referential, as in Itinerario.
Most recently, Veroni has worked on a series of digital art projects:
lambda prints, artist’s
books and websites. These projects work within a new structure:
that of the symbolic representation of “the entities which
form part of, or dominate, our lives’’ such as Destiny,
Time, Madness, etc.
It is possible that in these recent artworks Veroni’s aim
has been to use the media to find a common language which functions
beyond cultural borders, and in this way to reach a wider international
It is interesting to see the difference in character between the
works that refer specifically to his country (Buenos
Aires, La Argentina)
where there is an evident social and political commentary, and the
works which relate to wider themes (Glasgow,
Tramas y Mandalas),
with a predominantly aesthetic and philosophical message.
The influence of cartoons is also evident in Veroni’s work.
TV, animations and comics had a great impact on RV and his generation.
Of all the aesthetic ‘styles’, Veroni is drawn to this
as a popular medium of communication: the public to which his work
is addressed is broader than the usual specialist artistic circles.
Through this popular graphic style he articulates messages which
include -or alternate between- political satire, existentialist
philosophy, social critique and the merely decorative.