critical texts


Rafael Paneca Cano, catalogue of the showcase El Tiempo Nuestro, 1977
Argeliers León
Rafael Paneca Cano When the geometry coming out from gesture found the surface where to be drawn, it undertook the great leaps which led it to repeat the images spun by the human being when starting relations with other beings (and when having the necessity of preserving this relation); and this happended for the human being maybe before he had done the same with those other signs which took him to create its language some time later. Then, the stroke was no more representation of the gesture, and it became reflection of the idea –dance stem from gesture, and painting from stroke – Since then the idea found in painting, the representation of an instant, and it had to wait for language in order to find the speech. This always struggle for having an effect in that, and turned to the frieze, or patiently waited for the movie –which turned photography into speech-. The instant depended on surface: on its nature, on its size ; and gesture developed through other way, at sequence instants´ expenses which had to settle, and it spread through multiple and varied fields of action –on one hand it became pictorial technique, for which it was nothing but the limitation of the arm´s and hands´ gesture, and its extension through the paintbrush, through the chisel or through the pen-, and was at service of each and every fragment of idea which, as concrete instant, it became part of the necessary relations created by man. Surface and technique quickly demanded to the idea their most pressing demands, and as times went by, those has imposed sometimes, but the idea always comes to concentrate its instants. Which?. Those that human being relations isolate from the group of facts taking place within the great moments of time that they had learnt to know and they had the need to outline. And facts found in Paneca´s works which in these instants are the most current, those provided by the Cuban Revolution. These are those which respond to the ideas of a man who rises from our soil, now, and looks the reality lived by all us, around him – reality in which we all participate since one thousand six hundred and thirty days- , and look for the instants that we all isolate from the revolutionary struggle to outline a period sequence : those instants he leaves us in each picture... (Excerpt from a text by Argeliers León, for the catalogue of the showcase El Tiempo Nuestro (The Time of Ours) at the International Art Gallery of the Mnistry of Culture, in February, 1977)