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Gladis Valencia Rosell.
Atty. in Tourism
Repp. Cultural of Cusco in Sweden

Specialized critic

TIME AND SPACE LIKE AESTHETIC THOUGHT
IN THE PAINTING OF GUILLERMO LORENTE

For. Abil Peralta Agüero. AICA*

To speak in parables, it is the capacity to speak to the other one in the name of all. It is the deconstruction of the plural ego embodied in the necessity of seeing, to feel and to hear the feeling of all as feeling of our own interior. The Messiahs spoke in this way , the Messiah, the medium and also the shaman. In parables, metaphors and symbols also speak to the poets and the artists from the same age of the history. Lorente speaks this way from the cloth surface of its enigmatic paintings.

Guillermo Lorente, Cuban painter, born in the Havana in the year 1963, payee of the own gifts feels to speak in parables through his art. In their cloths, it elevates to the symbol category and metaphor the substance of their pictoriality to speak to us of the being's tortures, of the soul that gets lost, of the mystic elephant and of the butterfly that dies and it celebrates a day of glory like their time everything.

He makes it with the wise purpose of transfiguring in art the matter of their arcane thought, anchored as time and space infinites in the interior architecture of their paintings.

Artist of a sustained professional trajectory, settled down in Stockholm, Sweden from the year 1994,working as a professor of visual arts and from where it has developed the plastic alphabet that sustains today the visual speech of their work.

Museums, art galleries, living rooms and biennial, so much of their native Cuba as of Sweden, they have welcomed with special attention the artistic and aesthetic reaches of their work, projecting him like an authentic revelation of the Cuban, Caribbean painting and Latin American in the distant lands of the Nordic world.

In the process of conceptual articulation of their painting, complex systems of plastic integration that conjugate the powerful visual experience of the great Cuban painting with the pictorial tradition of the Nordic culture, reign of the flamenco aesthetics and of the conceptual opulence in the universal painting.

The painting of Lorente is a direct resultant of that phenomenology, the one that is translated in the conceptive structuring of an impregnated language of metaphysisity in its cloths and of a strong load of philosophical, theological and conceptual significance.

Their work is a stimulating revelation inside the contemporary pictorial vanguard. He, from the territory of their upset semantic units, establishes significant sequences that reveal the states of their mystic creative imagination, from where it postulates the Kingdom of the mystery like topic, matter, time, space and fellow in their paintings.

Settling down as visual verbalization the bases of an architecture of the memory of its personal ego proposes visualizations of the other and other visualizations on behalf of the collective ego that lives like dream, torture and seed of great mystic illumination in their imagination of good and overwhelming artist.

Guillermo Lorente thinks and it feels in its art in the name of the humanity's moral and existential anguish; it leaves in multiple planes the body of the geometry to appropriate of their millennial meaning mystic, transforming it before us into phenomenon of a powerful artistic, emotional and existential sensation.

Lorente transfigures the geometry, generating aesthetic messages and forms of content that Hegel well observes, they become a shaken "phenomenology of the spirit."

Their dense palette and wide brushstroke propose their emotions and dreams in the cloth like an offering in geometry form and idealized architecture, supported in the atemporary meaning of the metaphor and the symbol, establishing the mysterious Kingdom of the light in each one of their works, in those that the most turbulent tortures in the anguish are noticed, the pleasure, the solitude, the pain, the fear, the rite, the love and God, like an emotional and spiritual affectation that somehow plays us to all.

Guillermo's painting Lorente is a celebration of the history of the art, past and present, old, modern and contemporary. Out of paradise swims in the nomenclature of its scenic budgets. Their visual language is a theological contradiction that celebrates the life, but also the death, interpreting those phenomenical states like a phenomenon of mystic circularity as long as its infinity cosmic suprasensorial: "powder is, and powdered you will become", it titles like apocalyptic sentence one of its more enigmatic ones and emblematics paintings.

It is expectant to see and to feel as the deconstructive energy of their structure composite desintegrates the man like myth and to their own being - their self-portraits - to transcend him in the virtual time of their cloths. Those make eternal and it takes them until planes of an infinity that transcend but there of the good and the wrong, and beyond the plane of the expression that norm the linguistic structure of their work.

With one purified technique and stylistic that explodes before the expert look, Guillermo Lorente articulates a painting that bases the stylistic nature of its plastic nomenclature in the vortex memory ; the aesthetics of those painting sages legitimated by the poet's theoretical thought Guillaume Apollinaire.

To the way of those sages gifts of the modern art, this Cuban-Swedish artist values and substance the rhythm, the time, the space, the energy, the infinity and the movement like significants offering you transcendent meanings, in those that the action of the creative conscience proposes visual phenomena of a sensitive penetration capacity in the eye of the spectator that thinks and feels.

The painting of Lorente is of a deep mystic resonance, sustained in a design opened up in the one that prevails the immanent power of the light like essence and mystery inside a composite structure that seems to seduce the act of looking.

Their art is, that of an architect and mathematical of the mystery and the fascination; he makes of the labyrinthine existential phenomenon of the interior solitude, a dramatic manifesto in the one that pictorially the color, plays a therapeutic, sedative function and aesthetics at the same time. It proposes in their paintings to build next to all the house of the light, with windows opened up for where it arrives one day the hope. It points out us without fear the cosmic stadium where the convicts inhabit... those that attack the Kingdom of the individual and collective freedom, a metaphor like poetic visual from the same center of their thinking painting.

The sun, a seat, the stairway, a bed, a fan, a man-Lorente ; a depth, a dream, a nightmare, a poem, an airplane, a knife, the life, a boy, the death or a garden of butterflies can be generating elements of aesthetic messages in their paintings, always carriers of a great seduction power, reflection and visual communication.

The semantic structure of their work this dominated by the sage handling of resources so complex as the prismatic decomposition of the space, allowing him the establishment of a régime of fantasies that doesn't arrive until the aesthetic territories of the surreality, because in their essence, their art transcends to the planes of a painting impregnated metaphysician-mystic of light, of suns and of a sensitive personal introspection in the one that the artistic experience prevails as matter and phenomenon of the beautiful thing in its paintings.

Their painting is under the full domain of a geometry of the transinfinity that facilitates a simultaneous presence of the time, activating in the spectator fields of visual stimuli that break traditional protocols of visual reading that limit the capacity of absorption of the events of the image that takes place in its cloths as a mysterious phenomena..

The complex space organization of their impregnated painting of a metaphysisity from which is perceived and it feels a very well structured organization of transcendent stimuli, very well nested in the visual architecture of their works as mental structures that reveals states but there of the geometry common transinfinity that almost dominates the entirety of their works.

The aesthete could wander when confusing the spiritual worth, metaphysics and mystic that defines the conceptual parameters of the painting-Lorente, when considering that in her art they are founded simple values of humanistic character; no, in their work, of an excellent factural value, textural and draw, a superior functionalism that aspires to the salvation of souls, settles down and from where seeds of eternity flourish.

Lorente, in the symbolic repertoire and significance of its cloths builds windows, roads, stairways and flags like semantic and lexical proposals of a poetic characteristic of its vision of the man past-present and to come.

The phenomena of perception that take place and they multiply like part of the semantic structure that defines the linguistic significance and symbolic of their painting, they announce the revelation of a sum of interior experiences that resemantizen the common object in their canvases, assigning him an incessant mobility that arrives until the preceptor look like cult image in movement, as act of being, not of the creator-artist ego, but of the other one plural ego that inhabits the identity of their artistic personality; everything it, stylistically expressed in the aesthetics from a next visualistic to the kinestesia, the rhythm of the film time that makes of the to live and thinking, an infinite circle in which the time lives and dies in the time of its own space storm.

Guillermo Lorente presents us a painting endowed with a celebrated maturity, based on a plastic complexity modulated by a series of mental processes that transform the transcendent beauty of its work into a rictus where the gravitacionality of the space is affirmed, where everything can be, and where in essence there is not anything, only freedom, utopia, interior life, art, thrills and dreams.

* Poet, Critic of Art and Curator of the Dominican Republic. Member of the Association of the Dominican Republic of Critics of Art-Aica. General secretary of the Association Of the Dominican Republic of Critics of Art, and Director of ARTes in Santo Domingo, international magazine specialized in Caribbean art.

 

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