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Abisay Puentes. Meditate.
Rafael Grillo
 
Abisay Puentes. Meditate.


Still when him same he admits not to want that they classify it, for Abisay Fuentes it will be very difficult to get rid of the "posmedieval" qualification -that the critical Jorge R. Bermúdez coined to define to a current that took off inside the plastic one Cuban in last decade - that flies about with force on his creations. Much is in them of that same passion for the pictorial occupation and the search of the beauty, of the concern for the spirituality or the sublimation of our carnal side, of the desire of articulating the actions and human feelings that it prevailed in Renaissance and Baroque, aesthetically and that it configured the stylistic election of artists of the patio like Cosme Proenza, Ángel Ramírez, Arturo Montoto, Ernesto Rancaño or Carlos Guzmán.

The proposal of Abisay,..., it recreates atmospheres of subtle lights and shades; you figure lengthened, Gothic, adorned with brilliant attires of last times that consume the sin in devotion postures. Rites and characters where the allegory is prostrated of knees before the most archaic tradition.

But, let us don't allow to crawl so alone for the appearances of antiquity. The own author clarifies on the beings that he paints: "Adam and Eva no longer take the fruit and they eat it directly. Instruments are manufactured that go growing and becoming more complex until the point of absorbing them (...) being part of themselves". Their characters left time there is the scenario of the paradise, to be rediscovered in some point of the history already robbed of the pristine innocence and the material simplicity. It describes a rite, ambiguous, where the apple is the center of an act of greed, introspective and sacred but, to the same time, sensual and obstinate, and that he has the aroma of the incense like that of the smoke of the bad habit so much.

With reminiscences to those libations in communion that practice the Arab cultures, Abisay Puentes's scenes also make emphasis in the seduction of the instrumental thing. For that reason the view of their squares meets us to this query: Posmedievales or posthumanos? Beings of the past or creatures of the future that today announces the science and the industrial society?

Maybe being ahead, as alone the artists are capable, does Abisay Puentes offer us its version of the sexuality for the era that today begins to travel? For a time in that the euphorias and the fears on the virtual thing walk even, they could be more refinedly these squares their expression plastic. Abysses and bridges are evoked from the artist's name... and also from their painting.

Rafael Grillo