critical texts


Frency Fernández Rosales

So, it was a pleasure for me to see Wellesley in A is B with a complete terminological tree where the hermeneutic opened its arms to him and demanded of him, as a creator, a conscience level that, with that rationalism of his, made him a suitable initiate.
By means of his experience in the DIP (Department of Public Interventions), where he rehearsed some of his illusions within what we shall understand as an unfinished rehearsal according to his series TRUTH, and from that to his solo exhibition in Luz y Oficios, under the same denomination, it can be of interest in this TRUTH, how the author walks us by his aesthetical, and at times hedonistic, interests in the text as image and reconstruction, until he takes us to travel through ideo-political values with an irony that seems to recover something of the 80’s movement-but this time from an markedly minimal morphology.
Some things come to my mind: the Puerto Rican letter-spelling of the sixties and seventies, the syntax of the Cuban posters as a work of expensive values, Raúl’s pop (that dinosaur we enjoyed), Arturo Cuenca’s writing, or Flavio, Glexis or Aldito demystification in the second half of the eighties. In this way, a long etcetera that comprises Ponjuan, with the unavoidable reference to clear interest of Wellesley for the resorts of publicity as an area where artistic results can also be found.
In this way, he takes us back to tautology and the emptiness of sense that this can imply. He places us in front of writing as another fixation act of the truthful and manipulates it until he unveils some of its paradoxes or some of its traps.
As a last resort, Truth can, graciously and coldly, take us to a skeptic act. A coldness that talks about that prison that is at times the written and spoken language. A skepticism that can go beyond the image the typographical, phraseological or semantic game suggests; just to the point in which illusion confuse us in a society where words, sometimes, are mute, empty or ineffective.