Paternosto, Cesar

Paternosto initially pursued a law degree but turned to art, studying at the Universidad Nacional de La Plata until 1961. During this period, he became part of Grupo Sí, a collective associated with Argentine Informalismo. His early works, exhibited at Galería Rubbers (Buenos Aires, 1962) and La Casa del Arte (Puerto Rico, 1963), incorporated pre-Hispanic symbols and textured surfaces. By 1964, his style evolved towards geometric abstraction, integrating irregular lines and experimental materials, as seen in his Globos Mágicos series. After showing his work at Galería Bonino in 1966, he relocated to New York.

In 1969, Paternosto developed a distinctive technique of painting the edges of his canvases while leaving the front largely monochromatic. This radical shift required viewers to move around the artwork to fully engage with its spatial dynamics. He presented these works at AM Sachs Gallery (New York, 1970) and Galería Carmen Waugh (Buenos Aires, 1971). By the early 1970s, he expanded his exploration of modular compositions and wall installations, exhibiting at Galerie Denise René (Paris, 1972).

In the late 1970s, he traveled through Argentina, Bolivia, and Peru, studying pre-Columbian geometric motifs. These influences led to a new phase of work, incorporating earthy tones and indigenous symbolism. His research resulted in several notable exhibitions, including retrospectives at the Center for Inter-American Relations (New York, 1981) and the Fundación San Telmo (Buenos Aires, 1987).

During the 1990s, he introduced architectural elements into his paintings and sculptures, exhibiting at Exit Art Gallery (New York, 1993). His later series, such as Post-Pórtico (1994) and Hilos de Agua (1996), explored rhythmic patterns inspired by serial music. In 2010, he created The Arrival, a large-scale installation at Atocha railway station in Madrid.