In Venezuela during the seventies, in a nation already embraced by progress and modern thinking, a new generation of plastic artists and graphic designers burst into the scene with a new way of understanding the future, decoding the aesthetic of time through the creation of a new and defining visual language, that of the potential country, of a promising country.

The great mentor was the Lithuanian immigrant Gerd Leufert, who found a white canvas in the country of Soto and Villanueva, and together with his contemporaries inspired and showed the way to a whole new generation of young artists.

The mentor, his wife the artist Gego, his pupils and colleagues, of whom we can mention the also renown Alvaro Sotillo and the italian Nedo Mion Ferrario, were all part of a new graphic movement that recognized tradition and vested it with modernism, soundness and dynamism; typical values of a booming country.

They delve into geometric exploration, leaving behind realism, to adopt abstraction as the purest form to illustrate the future. They become passionate and obsessed for improbable shapes, with the fabrication of geometric optical illusions, taking on the challenge to overcome the difficulty of obtaining Impossible Designs.

Dibujos Imposibles (Impossible Designs) collection intends to reallocate that visual language into the body, making it art and part of the dynamism and movement. Is a bet now on that promising country that may seem difficult to grasp, but that continues to be a grand possibility.