Carlos Estévez is a young artist that is given to know in the nineties and that in a personal sample of 1992 he intended to settle down a cult to the man's spiritual universe, according to him same it defined. This maxim continues being, in great measure, the substance of all its trajectory. Estévez interprets all that happens, the world of the objects and of the culture, through the prism of the spirituality and of the reflection about the existence. Their poetic drift of the earnings and repercussions that have had the currents post conceptual in Cuba starting from the eighties; and it connects with that open road from Elso in that the religious thing wins lands in the art, so much from their transcendent conceptions, like from their methodologies.
The interest of Estévez in carrying out an encyclopedia of metaphors speaks of an artisticidad and highly eclectic cognitive intentions, but mainly of its concentration in the symbolic thing. Their philosophical readings seem to have brought near it to this reflection; in particular Cassirer, with their analyses on the symbolic expression as constituent foundation and denominator common of all the forms of spiritual production. They are important for Estévez all type of cosmogonies, the philosophies that are centered in the human existence, the anthropological thought, the conceptions of the Afro-Cuban cultures, the esoterism, the magic, and the scientific and technological realizations, impregnated of the symbolic thought.
Most of their artistic projects invite to meditate on a man that is at the same time cosmos and god and that he meditates and it acts continuously from that transcendent perspective in their desire of understanding the universe. Many works of Estévez look for the prints of the soul or the habitation of the spirit in any object or action.
Corina Matamoros Tuma
Healer. National Museum of Fine Arts
(words for the Catalog of the National Museum of fine arts. Collection of Cuban Art)