Con la presencia del señor Francis Gurry, director general de la OMPI, el Co. Pedro Luis Pedroso Cuesta, Embajador y Representante Permanente de Cuba ante la O.N.U. en Ginebra, representantes del cuerpo diplomático acreditado en esta ciudad, amigos de Cuba y compatriotas cubanos, quedó inaugurada el pasado 29 de noviembre en el lobby central del edificio de la Organización Mundial de la propiedad Intelectual la exposición “El Ojo del Amo” del artista plástico y pintor cubano Maikel Sotomayor.
La muestra se encontrará expuesta en las galerías del 1er piso del lobby central del´OMPI hasta las 12:00 del día viernes 1 de Diciembre de 2017.
Dirección: 34 chemin de Colombettes, 1211, Ginebra.
23 de Diciembre 1989, Habana, Cuba
Maikel Sotomayor. Sitio Oficial
Tel: +(53) 5293 7916
Miembro de la Asociación Hermanos Saiz
2004-2008- Academia Nacional de Bellas Artes: San Alejandro. La Habana, Cuba.
Como escritor ha publicado poesía en Cuba y España
(Artículo en Inglés)
CONCERTATIONS OF THE SUBJECT
Por: David Mateo
The attempt of chronicle, of travel document that Maikel Sotomayor has
been introducing in his landscaping works, is one of the first aspects that
must be taken into account when evaluating them. Because of my professional
and friendship relationship with the artist, I have had access to
complementary data of his career that allow me to recognize in his compositions
some evidences that would be difficult to detect by an outside observer.
But I’m not interested in preserving them as exclusive guarantees
of a critical analysis, more or less successful, but also to offer them to the
public of his works so that they do not remain in the simple technical or
aesthetic appreciation of them, and approach them with a will of discernment,
of revelation around the artistic subject, an aspect that I consider
crucial to understand the background of his proposals.
The confidentiality of these data does not restrict, but on the contrary,
enriches the ability to suggest the works of this young creator. And it
is that his neoexpressionist painting, contained and explosive at the same
Catalogo Paisajes Menguantes.indd 3 12/11/2017 8:42:11
time, does not intend to hide a structuring variable characterized, essentially,
by the juxtaposition of experiential planes, planes that can be recreated
directly or combined through the canvas, and that prevail even when
the intention of the picture is panoramic. What at first glance could seem
like an effective or simulation resource in certain fragments of the painting,
is nothing more than the intensification of the pictorial and drawing
artifices to emphasize the impression of the different angles of the natural
spaces and the contingencies experienced in them. It is for good reason
that he tends to prioritize in his compositions several areas of transparency,
of transitions; it reveals, with a greater or lesser degree of intensity,
certain emblematic objects or characters from each represented corner,
and builds with them interesting “visual shortcuts”, as if it were a corporeal
and emotional sketch of the place.
In the substratum of the work of Maikel Sotomayor there is an intention
of trust representative of the environment, an environment that aims
to be rediscovered, perceived from its double dimension of ecstasy and
restlessness, and for which everything seems to have significance: the
general accidents of the land, the houses of the peasants, the inhabitants
of the area, the animals, the parceling of the ground, the suggestive configuration
of a stone or an old trunk …
Maikel Sotomayor makes complicity with the original and enigmatic
places of the geography of the country, going from one extreme to another
capturing the insular breath.
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As if that conception that has been used in his landscapes of an irreducible,
incorporated nature typical of Japanese artistic philosophy is not
enough, Maikel Sotomayor now strives to agree on a methodology -with
evident influences of the poetic Haiku- with which to expose the spiritual
dynamics of the landscape and carry out the design of the visual narrative
that justifies them.
P&W: Carlos L. Calatras