Exhibition by Ever Fonseca at the Cuban National Museum of Fine Arts
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- Arts and Culture
- culture an traditions
- Paint and Sculpture
- 01 / 26 / 2009
His work, absolutely figurative, is full of symbols, poetry, and metaphors that emerge from an emotional and tender speech. His paintings show heavenly bodies, the sea and jigües –a sort of goblin in Cuban mythology- intermixed with human and animal shapes in a world full of images and colors.
The presence of eyes is also one of the main characteristic of his paintings, with different levels of abstractionism. Staring at the spectator, these eyes invite them to reflect on the mysteries of human life, while setting a style that seems to interconnect every piece of his work, as in a large collection. Nonetheless, his style goes beyond the repetition of a few elements; it is also a way of expression for the visual arts in which certain pigments are used to show the development of the human race and its identity.
The exhibition Enigmas de la Naturaleza will be on display at the Cuban Collection Building of the National Museum of Fine Arts until March 8. It includes works from the 1960s to date.
The painter of the triptych Homenaje a Viet Nam heroico (Tribute to Heroic Viet Nam, 1968); El último cuadro que pinté en Matanzas (The last painting I did in Matanzas,1973); El grito de los infantes (The Children’s Cry 1980); Siguapa de chichiricú (1987) and Jigüe de noche (Jigüe at Night, 1998), is one of the greatest artists of contemporary visual arts, as the impact of his aesthetics, stylistic originality and particular vision of nature show.
Presencia ancestral (Ancestral Presence, 1988), for example, sums up his poetic work and his existential concerns. The inspiring strength of this piece of art take us into the mysteries of Cuban nature.
Also remarkable is Self-portait (2005), in which he places himself in the center of Chaos, as well as the wood carving that opens the exhibition Enigmas de la Naturaleza. This exhibit is a summary of the creative career of this “narrator of poetic images of a high aesthetic and sensitive level,” as Hortensia Montero describes him in the catalogue of the exhibition.
Using a unique, spontaneous language, he raises the curiosity of the public and invites them to make a reflexive reading of emblematic works such as El circo (The Circus, 1967-1968) and Juanica y los peces (Juanica and the Fish, 1968), which show the calm of his early years.
His paintings reveal the hand of a man who has discovered, mastered and reintroduced the essences of primitive painting to Cuban arts, as the result of his autodidactic education that would later lead him arrive at academia.
New things surprise him everyday: “a human attitude or the emergence of something in the transformation of something complex into something simpler. For instance, looking at the clouds, the silhouettes of trees, or just the blue sky,” said Fonseca, who believes that the most important thing in life is to be consequent, fair and useful.
The first Cuban painter of the 1960s to show his work at the National Museum of Fine Arts, Ever Fonseca seeks essences in his most spontaneous instincts, in the conflicts of the universal man.
This teacher of generations, who has had a long career as a painter, sculptor, draftsman, engraver and ceramist, is the author of works committed to his time, an intense, intelligent art.
Creation is for him an essential way to face life. It allows him to present emotions and share them with his fellow men, without abandoning the road he took as a child, “in the search of an identity that better suits our origins and time.”