critical texts


Fernando Pendás: a curtain to pull back
Yamila Cruz
Fernando Pendás: a curtain to pull back
The young artist Fernando Pendás, graduated from the San Alejandro National Academy of Fine Arts, on painting (among other studies) work the visual arts from a consciously investigating position within the essences of human spirituality. Ontological worries lies in the canvas of this creator in which the abstract language does not become esoteric, generally, the artist´speech. The simbology of the colours and the way the figures are placed in space reveal his mastership on design´s tool, and become transparent the “hidden” senses of the pieces. In another aspect o his job, he appropriates of the cybernetic codes to contraponerlos with a heavy humanistic load represented by the senses as essence of the spiritual enjoyment and the human condition. The contrast of meanings generates reflections on contemporary problematics, which goes beyond the mere intrusion of technology in human´s live, in order to refer to true fusions which are produced between one and another. The primitive counterposition is substituted by an armonic coexistence in most of the receivers, thus becoming even more worrying this unavoidable reality. Fernando also proves great versatility in the use of the supports, protruding in the digital media, manifestation privileged by the new Cuban artists due to the reach and summoning power enjoyed by the Digital Art Salón, sponsored by the Pablo de la Torriente Brau Centre since 1999 within the Cuban context. Precisely in this event is where he has achieved his most important awards, having reached a mention in its 5th Edition for the Verdad y Atmósferas (Truth and Environments) series; while in its 6th Edition the Second place in the Audiovisual category was conferredto him for Los siete pecados de la capital (The Seven Capital´ Sins). Particularly in this work, Fernando appropriates of the previously established catholic system of categories and creates a new context and a new semantics, digging up in his own horizon of expectations. His position before the circumstances denounced by him is neither moralizing, although nor conformist; but he has chosen for the art work as reflection generating vehicle, giving back to art one of its primitive, and sometimes forgotten, functions. In a general sense, Fernando´s work intends to impact the spectator, more than sweeting his, or her senses. Although still very young, he has a very personal visualizing basically characterized by the symbolic use of colours,and the search of the aesthetics through deep indagation in his own vital experience.
By Yamila Cruz González, Licentiate in History of Art