The passionate search for the imago — through a diffuse structural and formal renewal of sense and meaning, whose fullness is reached in imprecise definitions that expand into informal gestures, spontaneous graphics and calm color — has obsessed Rigoberto Mena since he discovered the mysterious keys to his visual poetics at the turn of the century, when he recognized abstraction as his only language for understanding one another in this complex world of signs and symbols. “My homeland is abstraction,” he told himself one distant day, paraphrasing Fernando Pessoa.
