"The Argentine artist, Luciana Levinton, takes architecture as the object of her paintings. Floor plans and sections of buildings from different eras and places merge into landscapes which distort and at times even devour the lines of the design. The painter absorbs the elements of architecture leaving aside the rationality of constructions, for the model to transform itself into a trail, to inhabit the surface as a footprint, or even often disappearing.

In a movement of feedback, Levinton explores the relation between pictorial and architectural language. After looking at a building she goes through a decoding process in which everything is synthesized and turned into forms and colours of an abstract image. She takes apart one object in order to create images where the common denominator is the absence of persons and this elision makes the landscapes even more enigmatic.

Without considering the location of the buildings or the identity of the architects, throughout her career Levinton has always deconstructed colonial buildings, modernist constructions and pieces of contemporary architecture such as the Guggenheim Museum in New York, as well as secular and religious projects, stations or scientific buildings such as the Galileo Galilei Planetarium, which opened four days before Christmas Eve 1966 in the neighbourhood of Palermo in the city of Buenos Aires. 

When the artist begins a new series the focus is on a certain architectural style, on an era, or on the architecture of a place. In 2010, fascinated by the urban planning of the city of Brasilia and the utopia which inspired its construction, Luciana showcased her paintings of The National Congress and other iconic buildings in an exhibition that celebrated Brasilia´s fiftieth anniversary.

The link with architecture and its Brazilian creators is not new; during the artist’s production process, mixed with the warm affection towards family living in Brazil is the attraction she feels for wonderful modernist projects as seen from a Buenos Aires whose design maintains the features of the influence of classic French architecture from the beginning of the 20th century."
Lara Marmor