Adigio: Rescues of the illusion.
For: Pedro de Oraá
A painter is neither good nor better for spectacularly representing his circumstance, but when has surpass it making to poetic abridgement, metaphoric pretext, difference. Analogic traslation of reality says nothing to us because reality is there, enough, saying by itself. To explain it, by only describing, is the most dimwittedness attempt. To get it, we go to the intuition. To assume it let us go to that awareness vertex which access to new sight, which is his secret source, its creative dynamo.
Adigio Benítez´ongoing through painting is the persevering intent for the change of the significant; it is the quest of the unknown space in landscape and of the otherness of his own person. The permanent trail accumulated among the latest cycles of his painting transmits that fight, supported against deep habits and ways of depicting the already fullfilled images.
Being himself all the cheats, to in favor of the daily man's better causes, the raigal main character of the time, the painter already goes being other, because he has already decanted his iconography. Coming from to peculiar tradition in visual arts has is from the Cuban Twenty Century, his work within the generates of political illustration finds to narrow parallelism with incursions in this drawing modality–that must always be humorous -, by Marcelo Pogolotti and Carlos Enríquez, and mainly with Eduardo Abela and Julio Girona who practiced it with a remarkable frequency in the plane periodic press and later painting paradigmatic became. Adigio, reaches now, result of an uninterrupted dedication, that category.
Taking care of not ballasting the procedures and technical of the pictorial work with possible influences of designer's stage, even more if that work is presented ostensibly conceived as a schemed whose construction is par excellence lineal and not executed by stains neither fill of pigment, and much less, made from textures to the way of the action painting or of the materic informalism, Adigio patiently follows the ellaboration of to style which veryfies itself in plane the, appeals to the effects of lights and shades to achieve a virtual body, and it is enhanced in the prodigality of the color.
Such characteristics have favoured his approaching to the phenomenon of apropriation of artistic roots by post-modern movement, and to most frequented stylistic by that movement: the one which backs on preponderance of the drawing on the coloring load, because that the imitation – mimetic or parodic -, he concentrates on the line and the form before in the pigmentation. But it has also served the painter in the taking of elements in tendencies like the pop-art and the op-art, say to stress the contours of the figuration.
And to that whole speculative mutation of the posmodernidad the Cuban painter opposes the essence of his poetic one. He doesn't stop in the indulgence of re-doing that made and therefore he separates the superficiality of their form drastically. Full with meaning and lyricism each cycle, each work, it rehearses new relating objetuales that oscillate in the frontier between the vigil and the dream, between the reality and the imagination. There is a will of harmonic relationship with the alive world; it appears in their iconics stories clear empathy expression and commendation toward their existence: it is their aesthetic proposal in the end antipode of a current of the contemporary art that only exacerbates the technique and you took hold of the technology that alone he assists the appearance and he is in charge of of excesses for all thematic one, empty of sense, of future.
Spreads the papirotes outside of the borders of their canvases. Fly the left birds of the cloth on the radiant island to which they belong...
Havana, july, 2003
(Words for the classifies of “Adigio Benítez paintings 1957 - 2003” exhibition at the National Museum of Fine Arts, from September to November, 2003)