Gonzalo Sánchez, also known as “Pikti”, is an artist born in 1962 in Chile. He uses various techniques and materials such as LEDs, neon lights, and organic materials. The artlight allows the artist to create infinite worlds which he expresses with light - and its absence - giving rise to universal thought, emotions, and concepts.
The beginning of work with light at Gonzalo Sánchez Serrano dates to his childhood, when his art teacher (from MIT), Virginia Huneeus, encouraged him to work with recycled blades, intervening with acids, thinners, and varied materials, such as crushed crystals, inks, resins, etc., to create series which were then projected onto giant screens with a precarious project, producing dazzling and magnified images. The exploration was endless, and so were the results. These early experiences of light projected onto transparent and intervened media marked much of the strategy and language that Sánchez would use in various forms and combinations as a channel of expression.
Sanchez tries to ask himself the most essential question: what is man? Of the certainty already assumed, that the answer will never be found. As for its content, its work has always consisted in leaving the trace of the archetypal questions of the human being who never finds an answer but at the most flashes of ephemeral lucidity which disappear and force us to persevere, from the language of the art, a permanent and eternal reflection on these questions.
He has made several individual and group exhibitions in Chile and abroad: Art Gallery La Sala, James Gray Gallery (USA), collective of the Museum of Fine Arts (curator Carlos Montes de Oca), installation at Arturo Merino airport Benítez, selected by the metro directory, to develop a permanent installation in a metro station in Santiago. His work integrates the collection of private collectors in Chile and abroad. He exhibited in Paris at the Charlotte Norberg Gallery and at the Contemporary Art Museum in Santiago with a large multimedia installation in homage to George Orwell, where he deals with the phenomenon of ideologies and the alienation of the human being "Geometría Sagrada".
The artist revisits the codes of pre-Columbian culture of what is called “Cruz Andina” or “Chakana” corresponding to geometric figures synthesizing the cosmos-vision ensemble of the Incas who lived from Chile to Colombia. He presents his interpretation of the sacred iconographies of the Incas with technological means, noble materials, and infinite visions.