Armando Williams' long artistic journey is well known. His founding role in the emblematic Huayco collective; his silkscreen activism there; his pictorial exercise and his early version of allegorical bundles covered with the violence of the time, since they were forms pregnant with the urgency of a period in national life; then, his departure to New York and his return, associated with his distancing from the social and historical profile in his work - that, at least, as some critics have taken care to note. If in this intense search, the views of history and its contents were yielding to formal pictorial elaboration, it is perhaps because his exploration now heads towards the contours of the hidden and camouflage there, more than an outfit, is a form of contemplation.

In this process, his painting has gone from a consistency expressively loaded with matter and resolved drippings, to a more refined elaboration of flat surfaces and more graphically stitched and designed. A sector of the critics has been concerned with finding a cryptic code in these formalizations, like an internalized viscerality of the register of reality and a game of appearances behind which the artist and his original concerns would be, now in literal explosion. But despite the wishes of the critics, Williams seems to be emphatically looking at other matters, and his camouflages probably hide urgencies better linked to the game of pure form and its reflective stitching with a world prior to culture and history, defined here in the natural space, Amazonian version. For if camouflage and its plot grant anything, it is a survey of the hidden patterns of vegetal design, a journey through the flora with echoes of graphic cutting and a delineated control that allegorically synthesizes a look at nature. A look at nature as an observation of something hidden and essential that refers to a certain ancestral communion to which the artist is undoubtedly akin, but also more simply to the landscape and its design elements, approached contemplatively and formally.

Behind all the foliage, this is a Williams openly revealed by a trompe l'oeil initially conceived to become invisible in the thicket and which here becomes an abstract tool of demonstration. For this camouflage does not hide, it sufficiently borders the various planes and layers of a painting balanced less and less in gestures, more and more in the formal weight of models and patterns abstracted from nature, interchangeable and malleable as formulas of construction and aesthetic reflection. An old trick of camouflaging with the elements, which this time allows Williams to reappear, because behind, or simply above these surfaces, there is a new artist who has been discovered for some time. Another artist had already anticipated it, who in a song-like manner only said: Immerse yourself in the forms, to emerge purified.