Exhibitions > Laislaisla
Varelli, Contemporary Art
Each period of Fernando Varela preserves the same neatness in the elaboration of the signs, whether similar or different... the same concern determines the architecture of the painting, generally orchestrated by the symmetry of structures and units, defining a relationship of transcendental equality. However, a morphological change is emerging: irregular figures can occupy the center of the composition today. Again there is a link between the concept and the image. The Caribbean, intervened in its territories, disturbed in its rhythm, gives each island a volume, a space, its own contour, not necessarily harmonious.
One object is encapsulated in another, one painting is housed within another, with perfect transparency.
The formal organization increases its complexity, while the palette preserves its austerity, denying the stereotype of chromatic variegation.
The human silhouettes feel less predominant in "Laislaaisla", distanced, separated or merged into the whole of a dark density, what dominates as a category is the Island, the island life. We then remember Michel Foucaul's sentence: "Man is an invention whose archeology of our thought shows the recent date, and perhaps the near end." For the French philosopher, he is an empirical and transitory individual, who gives way to a luminous consciousness. And that luminous consciousness radiates the islands of Fernando Varela, in transit towards a next metaphysical and meta-geographic stage.”
Marianne de Tolentino
Director of the National Gallery of Fine Arts
