critical texts


Ileana Mulet
Harold Gramatges
Taking by the hand by angels and demons, she finds in her way dreamt images she then expresses on wide spaces, where she evades dimensions in order to group, placing one on top of the other, solid stones, walls, streets, stairs, towers, large windows, arcs, belfries and, sometimes, human and animal forms, opening spaces as if she were bringing to the Earth the infinite dimension of the sky. In her paintings ―as frequently happens with music―, space and time have found a balance. Also color, which reflects the warm atmosphere that illuminates her landscapes and the burning fire she handles with her paintbrush. Ileana Mulet has revealed in her plastic creation (finally!) the myth of the Trinity ―three different people (the Russian artist Marc Chagal, the Colombian writer Gabriel García Márquez and the French composer Pierre Boulez) and one only true goddess: she. That is the way I see, so prodigious, this symbiosis that defines the nature of her poetic source. In a field full of magic and mystery, where everything seemed already discovered, she resorts to other images to complete the plastic richness that appears in the world of contemporary Cuban painting.

Harold Gramatges
Havana City. March, 2006.