Born in 1953 in Montevideo, Uruguay, but lived most of his life in Buenos Aires, Argentina.
1971 -1975: Universidad de Belgrano, Buenos Aires, Argentina (sociology)
1983: After having spent a few years writing poetry and short stories, he started painting and drawing (self-taught).
1988: Moved to U.S.
Selected Solo Exhibitions:
2009 Craighead Green Gallery, Dallas, Texas.
2008 Migration Gallery, Charlotteville, Virginia.
2008 Gallery Bienvenu, New Orleans, Louisiana.
2007: Paintings, Iturralde Gallery, Los Angeles, CA
2006: Berman/Turner Projects, Santa Monica, CA
2004: 7 Paintings, Iturralde Gallery, Los Angeles, CA
2002: Morocco, Iturralde Gallery, Los Angeles, CA
2000: Recent Work, Iturralde Gallery, Los Angeles, CA
1997: Arturo Mallmann: Recent Work, Iturralde Gallery, Los Angeles, CA
1996: Man of the Underground, Milagros Gallery, San Antonio, TX
1996: Arturo Mallmann 1993-1996, Peppers Art Gallery, University of Redlands, Redlands, CA
1995: Paintings of the End of the Millennium, Iturralde Gallery, Los Angeles, CA
1993: Paintings of the New Los Angeles, Antioch University, Los Angeles, CA
1987: Paintings and Painted Wood Assemblages, Galería "Paseo de las Artes", Buenos Aires, Argentina.
Recent Group Exhibitions:
2009 New Discoveries, Butters Gallery, Ltd, Portland, OR
2006: Journey Home, Migration: A Gallery, Charlottesville, VA
2003: Two Uruguyan Artists, Gallery International, Baltimore, MD.
2002: December Invitational, Nüart Gallery, Santa Fe, NM.
2001: Modern and Contemporary Latin American Art, Louis Stern Fine Arts, Los Angeles, CA
Angels Night Benefit Auction, Beverly Hills, CA
Living With LA Art, an Acquired Taste, El Pueblo Gallery, Los Angeles, CA
Mallmann Moves Toward Light at End of the Tunnel, Holly Myers, Art Reviews, The Los Angeles Times, Los Angeles, California, April 26, 2002
Arturo Mallmann, Orville O. Clarke, Jr., Reviews, ArtScene, Los Angeles, California, April, 1995
Arturo Mallmann: The Urban Landscape as Visual Metaphor, Margarita Nieto, Presentation, Iturralde Gallery, Los Angeles, California,March, 1995
Lo Mejor de L.A., La Opinion, Los Angeles, California, July 15, 1994
Three ponder the direction the modern world is taking, Robert Pincus, Reviews, The San Diego Union- Tribune, San Diego, California, March 10, 1994
Artists You Should Know, Margarita Nieto, Reviews, ArtScene, Los Angeles, California, October, 1993
Reshaping L.A. offers post-riot optimism, Peter Frank, Art Review, Press Telegram, Los Angeles, California, October 3, 1993
Public Collections :
University of Central Florida, Orlando, FL
Art Statement Since I was a kid I always wanted to go to places where I could look very far away, be it the mountains, the ocean or the never-ending horizon of the Argentinean Pampas. I never knew what to say when people asked me what was I looking at. I guess that what I liked was precisely that there was nothing in particular to look at, it was a great feeling of liberation for my frequently turbulent soul. When I start a painting my first motivation is to develop a space that presents no barriers for the eyes. That is why depth is so important to me. For many years I've been developing a technique that more than creating an illusion of depth, it rather transforms the painting in a real three-dimensional space. This technique consists of innumerable layers of translucent acrylic colors applied between several coats of clear epoxy resin. One coat of the resin equals around fifty coats of varnish, so after a few coats of resin you can build up the surface of the painting up to an inch thick or more. The interaction of all these layers of colors between the coats of clear resin not only increases the depth, it also creates a much more vibrating final effect than the one you get when the colors are applied one on top of the other, without anything in between. When I finish a painting it is difficult sometimes to tell which is the dominant color. You can say it is green or red but if you look carefully you see that whatever color you are looking at it is not just that color, but the result of multiple interactions instead. I place the human beings that appear in my paintings very far away from the viewer, usually so close to the horizon that they frequently look on the verge of disappearing. I do that not only to further increase the depth but also because I want those human beings to be surrounded by a vast, naked and mysterious universe that presents no distractions, very different from the urban environment where most people spend their lives these days, an environment that is hopefully more conducive to approach our deepest selves. Arturo Mallmann 2007