irreproducible work, while, at the same time, his work is closer to that of the man of science.
Like the latter, Lozza subjects himself to the obstinate rigor of complex codification and to the control of mathematical measurement. His works cannot be appreciated from the standpoint of mere visibility. They are also conceptual because they deal with an idea of a work emancipated from the commonplace. Thus, his works introduce a particular kind of creation of the author and recipient. The new shapes that he contributes to the world are destined to activate the cognitive capacity of the observer, still not developed enough. They must lead knowledge and transformation towards a happier life". His aesthetic position is also ethical. One more feature of the permanence of this
"young" master, born in 1911".
"The aesthetic conceptions of Perceptivism embrace, among other things, the idea of exceeding all existing traditions in the heart of the abstract art. Raúl Lozza, who has understood the significance of Malevich’s contributions, tries to keep them alive through his works"
Rene Renne (Paris)
"...all of which contributes, paradoxically if you will, to placing Raúl Lozza among the genuine Classics of our Art".
Rafael Squirru (La Nación)
"...decentralization as a line of though of structuralism belongs to a period as a whole, ours. This was published in 1967. Raúl Lozza’s Perceptivism dates back to 1947".