Erich Allen
For
an Art critic few experiences are comparable to the one of
visiting the Studio of an artist and conversing with him
during the process of artistic creation. For the past
fifteen years I have had the opportunity of visiting
Fernando Ureña Rib's Art Studios, beginning in Montreal in
1984.
Through the different transitions,
searches and discoveries made by the artist, I have observed
that there is a line that you can trace. I feel that his
discoveries are invaluable contribution to the Art of
Painting at the beginning of a new century.
That sinuous line goes far beyond the
first glance. Despite of the predominant trends that neglect
the connection between Art and beauty, you see that there is
certainly, a presence of grace and beauty that is as
powerful as it was for the Hellenistic and classic periods.
You observe the master quality of his hand stroke; and the
inventiveness of his anatomical studies and the delightful
and ludic approach to light, movement and color. But there
is much more behind this apparent divertimento of beauty.
What is behind the images of these nude
figures dancing and prancing through forests and gardens
formed by strokes of vibrant color?
Fernando Ureña Rib's Artworks exudes a
splendid depiction of harmony and freedom. There is a line
that flows between the bright awareness of perception and
the subdued World of dreams. The viewer is confronted to a
variety of concepts that interact: Time, Peace, and
happiness, as the purpose of life itself.
Las Dadoras or Givers are symbolic
figures that enhance our understanding of the splendid and
positive energies of life. So, in this new cosmogony there
is a Giver of the Fire, a Giver of the Games, a Giver of the
Night. Nothing could be taken for granted by this artist who
realizes the importance of each natural element, and assigns
to each one of them a transcendent and mythical value.
