
La Mentira Corre Hasta Que la Verdad la Alcanza ( The Lie Runs Until the Truth Catches Up to It).
2020
"La Mentira Corre Hasta Que la Verdad la Alcanza" positions its title as both a moral axiom and a visual proposition, asking the viewer to sit with the tension between concealment and revelation. Executed in oil on Guatemalan textile, the work carries an immediate material weight: the woven ground is not merely a support but a cultural artifact in its own right, threading indigenous craft traditions into the language of contemporary painting. Lemus works across this layered surface with evident intentionality, allowing the textile's inherent pattern and texture to participate actively in the composition rather than recede behind it. The result is a modest-scaled yet densely resonant object, one that rewards close looking and rewards the collector willing to engage with its complexity. Nery Gabriel Lemus, a Los Angeles-based artist of Guatemalan descent, builds a practice oriented around race, family, and the social structures that either protect or undermine human dignity. His approach consistently examines how cultural and ethnic boundaries are crossed by shared patterns of experience, and his choice of Guatemalan textile as a painting ground here feels less like aesthetic gesture and more like an argument. The title's proverb, rendered in Spanish before its English translation, reinforces this bilingual, bicultural sensibility, insisting that truth and deception are not abstract philosophical concerns but lived, embodied ones. Produced in 2020, a year of acute reckoning with systemic inequality and historical omission, the work arrives with a timeliness that does not exhaust its longer resonance. At 50.8 by 40.6 centimeters, it is an intimate scale suited to sustained private encounter, and its signed status confirms the artist's direct investment in this particular object. The framing of this piece within a benefit auction for Los Angeles Contemporary Exhibitions connects it to a broader ecosystem of civic cultural support, situating the work not only as a collectible but as a contribution to the kind of institution-building Lemus himself advocates for.
- Medium
- Oil on Guatemalan textile
- Overall
- Signed
- Yes
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