Art On Cuba - - News -

(Vol­ume One, Ha­vana, 1981) when Rubén par­tic­i­pated with a can­vas, (Fors Por­trait), whose crafts­man­ship treat­ment was also used in the con­cep­tion of La boda (The Wed­ding), both of them be­long­ing to­day to the Col­lec­tion of the Na­tional Mu­seum of Fine Arts, in Ha­vana. The two pieces were made with the ini­tial aes­thet­ics of his ca­reer, in­spired on the pro­fes­sion of his mother, who was a seam­stress: su­per­po­si­tion of el­e­ments on the can­vas, with the pur­pose of re­in­forc­ing the phys­i­cal im­ages of those por­trayed, whose aes­thetic con­cre­tion is achieved in a not es­sen­tially pic­to­rial man­ner.

Two other rel­e­vant ex­am­ples of his pro­duc­tion, which are ex­hib­ited in the per­ma­nent Fine Arts Mu­seum of Ha­vana col­lec­tion—Te llevo bajo mi piel (I’ve got you un­der my skin, 1984) and Esta es tu obra (This is your work, 1988)—demon­strate how his dis­cur­sive reper­toire reaches the cli­max. They both con­sti­tute par­a­digms of his con­cep­tual and the­o­ret­i­cal strength, while sum­ma­riz­ing the mag­ni­tude of the his­tor­i­cal tran­scen­dence of his cul­tural le­gacy. Th­ese em­blem­atic works con­sti­tute archetypes of his oeu­vre and un­avoid­able ref­er­ents of the en­ergy emerg­ing from his aes­thetic; they are a force­ful sum­mary of the artis­tic, ar­ti­sanal, iconic, sculp­tural, and in­stal­la­tion­ist na­ture of his pro­duc­tion.

It hap­pens that in 2017 his ap­proach is dif­fer­ent. He is a cul­tured artist who has suc­cess­fully led a fruit­ful ca­reer.

His present imag­i­nary is more syn­thetic, con­cise and ac­cu­rate. Mod­ern­ized with the trends of art, his pro­jec­tion is placed in the ob­jec­tive re­al­ity of our time and his speech is based on con­cep­tual acute­ness, ex­pressed with tact, sim­plic­ity and el­e­gance to for­mu­late the mes­sage he wants to trans­mit through the syn­the­sis.

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