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Urban imaginaries is the last series offers the barinés visual artist Raúl Herrera. This could be a way to start our review for his work, take it as an essay (but in practice and error) in the end not hidden artist his gesture to contain or deliver to abstraction, this is and will be always a try and go building on the road. Thus it has done precisely with his work, sustained precisely in a build and reflect constant around the city and what configure, thus taking the unpredictable resource of painting, visual flirting with different personal views and of course shows us what has been achieved through the training as an artist. Mario de Andrade told well in art and architecture of the Brazilian modernism: "manifesting itself especially through art, but also splashing with violence social customs".

The building, the new choza-costumbre of modern man, the icon stays in the representations of Herrera, could be for some that hostile parapet imitator of tree which stands between concrete, this is nothing more than the symbol that it protects in Yes, the significance of the city, the city. The process of communication of the image reads: "the existence of images involves the presence of elements (shape, movement and human perception) that only appear when there is a receiving subject, a man who receives the visual message through sight." "Therefore, there can be no image without a process of communication"; It is precisely our favorite appreciations, the urban imaginary of Raúl Herrera communicates, conveys, flagship identification with the visual gesture that projects the collective, building after building, crowded one, others on top, warm contrasts reflect the activity, the construction as an agent of personalization of the great city States, printing emotionality to the conglomerate of the polis, the buildings, the city are beings, beings of the city stood up with its own life, to be protagonists in a concrete jungle inhabited by thugs.

"You can explore from the building to a lamp, a pot of basura…elementos which can become elements estéticos… and I am to convert them icons" says Herrera, as character models and gives life of this figures, whereas their communication needs, of visual expression, according to Duchamp: "consider the painting as a means of expression and not as an end." "A means of expression among many others..." Behold the otherness, the artist elaborates his speech where he himself is portrayed, despite the fact that it says is capable of dismantling other elements in his work, pick the rectangles and squares which are sown in our cities, in the building of the hectic city that shares its space with a few smaller, other highera darker, others clear, "or the color that has the hand" says. Finally, an interaction of beings rhythmically arranged in a composition; properties to be towered carrying the condition of being some kind of longing remain unabated before the action of the time, their peers and the action of the nature.

The polis, the city, the civitas, if you have something distinctive, more than any social or architectural element is precisely the configuration of universality. Remember a less subjective detail as traffic signals, which are capable of transmitting the same of Barinas to Tokyo. Universalize the vision of an icon is that we proposes the artist, for the projection in the collective unconscious.

One of the works, says the artist, "the city may be that thought, which we believe, the idealized" always in a conceptual exercise, at times the orderly city, others in full chaos, but always offering that duality for the reading of the observer because "it depends on each person".

"It was fragments of the city, composition of new elements." More than any exercise. Now with this work is something more complex and specific of what interests me with the city. "I found what continue exploring and reinventing what". (Herrera in interview, 2011).

This is what says the artist on his previous exhibition "Urbanos times"; Here we evidenciamos the process of reflection, research and testing of the building of the plastic imagético speech. A work in constant production, transformation and reinvention.

This line can last all my life, it is infinite. "The city since its inception has been subject of poets, artists, the city as an ideal, as set of structure, such as philosophical, material". (Herrera in interview, 2011).

It is an ideal position above all, a way of life, communicating through a urban worldview staff, ultimately the "development" and postmodernism have made us automatons living in cement and some other accessory boxes to differentiate ourselves. The concept of differentiation in Raúl Herrera is precisely the imagination, how he planned the icon, its icon, but is at the service of the subjectivities that generates the visual reading, each person perceiving according to their own imprints, perceptions and personal visions of the architecture of the existence. If there is any doubt about it, it has already done their own with us.

We have explored and walked his city, projecting us our own vision of the icon through this upright leitmotiv that show