critical texts


Manuel López Oliva (fragment)
Nelson Domínguez
When we look into the eyes of this painter, we see a man who loves nature and its components. He was raised in an environment suitable for his development: the serigraphy workshop of his father in Manzanillo, his hometown. Since early childhood, like many other artists of his generation, he was involved in every change his nation underwent. The warrior stops resting and departs full of ideas to accomplish his goals and leave something for the others, as it is the pleasure of man. He has bravely let himself be judged, be seen in the inside, be subject to sincere or hypocritical comments and rumours; they are ignored by the painter who sets to temporarily stop painting, and like the magic scalpel of Vesalius, wisely divided the different parts to be exhibited before the eyes of the rest of Renaissance men. Pop-Art works with images of historic Cuban poetry for which Lopez Oliva and several artists were awarded in 1968 are distant; those first frontrunners who emerged from promotions of then famous Cubanacan, which Marinello branded the Generation of the True Hope. Lopez Oliva would occasionally burst in with satirical facilities, although lacing the stability of the pictorial practice visible in his cathedrals of Havana, so close with burnt giraffes of Dali. López Oliva has already referred to Cuban art with a knowledgeable wisdom, and his chest is free of guilts, without regretting having succeeded through the work of his contemporaries. The bull is now in the bullring, challenging the bullfighter's merciless look. Nelson Domínguez . 1994