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.
