critical texts


From his works to the “Sexinética” exhinbition catalogue (fragment)
José Villa

...”To find oneself with his work does not simply demands a flow of appreciations, but a knowledge, an acquaintance with a thematic which uses to be repeteadly erotic, ellaborated with one single aim, but through different materials and supports which takes us from sensuality to his relieves on fabrics, to the agressiveness of his torsos. And for it he makes use –in the process- of all contrasts and analogies of sizes and textures, to manufactured and mechanical materials, to organic and geometric forms which present to us with opaqueness and transparencies, finally with these elements, harmonize a final structure which provokes and justifies moviment, the other great leading character of his work. Osneldo García is, undoubtedly, one of the pioneers of kynetic art in our environment. But this only statement would be simple, because he could also, like any other, add to kynetics -which uses to be a pure art calculated and clean- all labyrinths present in his personal comedy. One not only faces with a moving sculpture, but with an sculpture that, moving itself, incites, provokes and confounds, like the way he does... We face an artist who belongs to a group of scarcely studied sculptors, who has been not understood and little accepted in several occasions, but who is also one of those who explores creation emphasizing on individualism, without concessions, although he moves along less frequent roads and less favoured by demand and acknowledgement. In order to know his world –very personal- it has to be intensely seen, without false ambitions and understand that his only way of living is against the tide”... (José Villa, from his works to the “Sexinética” exhinbition catalogue. National Museum of Fine Arts, 2004)