"All Iban Echu"
(All is well, may peace never be altered)
Like two rivers of vertiginous torrents, Francisco Gordillo and Lino Vizcaíno meet.
They build a bridge that when transiting it from the heights of the kingdom of Olofi, we glimpse the original sources of another cosmogony, populated by mythical beings and gods transculturated in identity.
that we inhabit.
Gordilloy Vizcaíno submerge us in a reality of paths that are illusorily bifurcated, but converge in a universal spirituality, paths that go beyond the tangible utopia of art.
Africa is the genesis of the human and it is the sap that nourishes and illustrates the kines that launch us from the bridge: their testament of Faith: "Congo-Lucumi".
Gordilio emerges as a demiurge (I say: like an Oluo!) deflagrant and undertakes his mystical pilgrimage through hidden places to redeem a supreme fortress, launches the ekuelé and reveals to us his oracle of reverberant polychromies, in a fertile infinity of the sword, result of his familiar breast, of antecedent of Congo-Mayombe in interrelation with Santeria.
In his fertile inquiry (sometimes as a possession), other times from the pictorial dialectic, he works with the most diverse supports, thus offering a material kaleidoscope and textures of high sublimation.
Gordillo's work does not suffer from ruptures but from continuity, it is a visual language without fractures with-catenated fractures to its fecund investigation in the diverse liturgical estates of the slopes of the afri-cano arcane, thus establishing categories that it aesthetically records for the travelling memory of the ceremonial ancestrality of Africa.
From the other torrent Lino Vizcaíno, he appropriated philosophical conceptions of African antecedent, enhanced by his stay in Africa and he apprehended and mixed with the horizons of a religious family in the mythical Guanabacoa.
The work he gives us moves (without being retrospective) through a revisitation of his extensive work, where he conjugates the mythological relationship with: Nature-Eros-Astrology and an approach to occidentallization, not at all in counterpoint from the form! to the subjectivities that Henry Moore's work "evelerated", but he redimensioned strokes, composition and a drawing line supported on cardboard, which transcends the conceptuality of drawing per se.
Vizcaíno discovers a sui generis iconography, appealing with the nib to plethoric beings of a very personal figuration.
It is obvious that Lino Vizcaino discovers to us that nothing human is foreign to him when he approaches in a polysemic language, a resignification of Faith, a Flora and Fauna in descent of the man fairy paths that dignify the light of the human condition.
Lino-Gordillo dialogue from very personal points of view, towards the collective memory of this Cuban "llle-líe" demonstrating and proving faithfully that art is magic and it is licit to transgress from the most subjective diversity.
As Edwin M. Fagette would say:
"I'm numbed by the songs on the waves, in which the ancestral slaves were shipwrecked.
The pain becomes courage ... But I still glimpse the spiritual arch in the distant oceans."
Let's navigate, in the flood of these creators, by the incognito landscapes of! sol, on crests of waves that Illuminate as liberating aesthetic this visual feast.
Let us board these canoes and silently intone a "suyere" to our ancestors in their whirlpool of pristine waters of blue light.
by: L Oscar Faeette Salas.