Mother Land save me, save me!

Paisagem para um desejo

Paisagem para um desejo

Sonia Salcedo del Castillo
April, 2013



The poetic of Alejandro Lloret, a Cuban-Brazilian artist, has for a leitmotif the building of a personal identity, through the understanding of the idea of space, be it material or mental. From hiper-realistic landscapes to informal abstraction, his work goes beyond the limits of likelihood and, evoking organic forms, touches another question crucial for expatriation: time.

Alejandro begins his career with the Cuban artistic generation of the 80’s, that transformed the scene of visual arts in Cuba. He invests in imaginary spaciotemporal relationships (exhuberant ones, one must say). On the recurrence of that making, I like the comprehension that those spatialities are “thinking natures”, no matter if they exist, if they inhabit us or we inhabit them. I also enjoy Lloret’s suspicious belief about the experience of beauty in his poetic, this being like a portal for transcendence, legacy of the daily lives, as if it was “a trace of the world” (or fruit of his imagination?). Specially because those so called natures unveil an uprooting not alike to loosing touch with reality. On the opposite, like a shelter made of intelligence and beauty over some kind of a “cardinal limbo”[1] , result in awareness about the misteries of life hidden by mundane reality.

The uniqueness in Alejandro’s work is shown in his construction process. Its invoice shows as composition, which elaboration creates a dialog between the materiality of reality and the impalpability of the imaginary. Literal or not, his work mix a reference image back (from bothanical books and atlases, among other elements) and memories, acting like collages, appropriations or assemblages[2]. The space-time of his forests, for instance, and of his abstractions are thus defined the same way. Yes, specially if we think about the material life of his work, put together with how the artist relates with the world, a metaphysical way out capable of mixing the universe of ideas and of the forms.

To create landscapes, to give nature some clothes, to build horizons, to put together memories result in becomings, as such: through the innapearance of things, each place, each object, each being is a spaciotemporal total (“the place of all places”) that is presented as a philosophical possibility for the understanding of being. The poetic process in the capture of time is an important data for the artist’s work.

In itself, time can’t be divided. It is present in everything, be it a place, a thing or an action. Only the artistic creation, thus, can extract a singular moment from the world. As something that welcomes and goes beyond, “a someone” that arises, aesthetic and ambiguously, between the sensible and the intelligible, forbiding the solitary testimony of the being in the world – world here understood as something that completes and transcends, shelters and inhabits us, in this “being living” of mortals on earth.[3]

Things and places are, without any distinction, space, such as regrets and glazes unveil memories or stories… Before being a mere poetic, Alejandro’s art is a form of knowledge, created through elements (that can have motion or not) that present themselves to us as terrestrial, watery, ethereal, with textures or hues added to them, reminding us of smells, flavors or sounds, as a nostalgic summer, an insular banner, a serious lazuli shadow over the carmine agrimemory, a deaf exile target, a melancholic hellish-autumn… Oh! Black Spring[4], formerly an acute gall, today a kind enlightened green and yellow future!

Made by fractions, crevices, gaps, writings, moments, looks, Alejandro’s work is a homeland pictorial poetry: first darkness, than half-tones, at last a clear flow without body or border. Or, when it is linear, it’s a motherland simphony transformed in golden spiral[5] or in a histogram of life.

The space built by the bristles of his brushes, pictorial or linearly, takes us to a time that flows, as a rithm.[6] Transcendent, clashes thinking and feeling, and so it is a composition of beat, pause, intensity, vibration, harmony among sensible parts: in a modulation of colors and forms, fractions and wholes.

Faced with the paradox of completeness, Alejandro seems to suggest a metaphor of the space in which we exist, a spatialization of the musical experience, as if rendering explicit the dynamics of a sound wave[7], through volume, frequency and time. “Listening to the colors and watching the sounds” is, so, a gift from a nature that is sensitive to man, related to philosophical questions that inspire and thrust artistic creation.[8]

Thus we explained the concept of transcendence implied here. As in the apophatic mistic that nourishes the search for knowledge about the being in the world, Alejandro Lloret’s work aims, according to himself, to “go beyond language, to be realised in the crevices of mistery, of the unheard, of the incomprehensible, of the unconceivable, that is, go beyond image, presence, in the binomial light without light…”.



[1] An allusion to the provisional place left to the justs of the Old Testment, here an analogy with Loret’s geographic situation in the world is created.

[2] For instance, the palmtrees in his paintings are mixed from the Brazilian Imperial Palmtree and the Cuban Royal Palmtree, in wich one eats the other. One must notice that those are big icons from two distant countries.

[3] Heidgger, Martin. “Construir, habitar, pensar! In: Ensaios e conferências. Trad. Emmanuel Carneiro Leão, Gilvan Forgel, Marcia Sá Cavalcanti Schuback. Petrópolis: Vozes, 2001, p 128-129.

[4] Polithic fact that happened a decade ago on Cuba.

[5] Cumulative growth in wich the ancient form is contained by the new one – a phenomenon called expanding Gnomonics.

[6] According to Lorenzo Mammi, rithm is a greek word derived from reo, “to flow”. In its first and broader meaning, rithm is, one can infer, how an event flows in time. There is not in this word any needed reference to periodical regularities or to mathematical relationships between intervals. (Deus Cantor. In Artepensamento. São Paulo: Companhia das Letras, 199, p. 46).

[7] Sound – that is also understood among spatial phenomenons, is the product of a very fast sequence (and usually imperceptible) of impulsions and rests (that are represented by the peaks of the wave) and of ciclycal drops of those impulses, followed by its reiteration. The sound wave always contains the part and counterpart of the movement that perpasses matter, modifying it and inscribing it, in a fleeted manner, its drawing (Wisnik, José Miguel. O som e o sentido. São Paulo: Companhia das Letras, 1993, p. 15)

[8] And as such, Alejandro Lloret’s work leads us to the thriumph of the divine science of painting over her sisters, music and poetry, as Leonardo da Vinci said: painting is mute painting, poetry is blind painting.


Portuguese Version: Pátria mátria, salve salve-me!