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Miguel Gómez Those who think that the artistic modernity and authenticity come from New York or from Paris will not be able to fairly appreciate the painting that Miguel Gómez exhibits today. Artist of personal memories, Gómez leaves in the canvas that today shows us a clear and defined consciousness that his objective is to approach a definition his own way through the topics carnival, dance an color. It is my convinced opinion, after years of knowledge of the efforts and the work of this artist, that color, as I pointed above, is a thematic element amid his painting. The only intention of making out of the color an objective obliges him to transform it into the main character of this scenes as we appreciate in go many examples. Color, so independent that imposes to the vision of the figures, of the atmospheres, of the objects. This statement is important given the fact that Miguel Gómez carefully considers the chromatic tradition of the first and third generations of the national artist of this century. Skillful and capable, he doesn’t lose sight of his surroundings. He doesn’t have to look to Paris for authenticity, nor does he have to look to New York to be modern. He looks into his own history. He works with the elements that a nationally incomplete art history puts into his hands. With authenticity he makes an effort, with meaningful achievements, to approach the quality of his expression keeping a variety of elements taken out of what is vernacular, out of the Caribbean art. The result is, perhaps, a hybrid, notorious enough and valid (due to the degrees of freedom that it allows) of inherited expressive resources of schools that today seem so old as the futurism and the cubism, while other resources, openly abstracting contribute to what is undoubtedly a new figuration. The character of this visual space will continue to carnival, the scenes of vendors, the popular romances… It is not a coincidence that in his expressionist practice, in which those fundamental aspects of the nationality are expressed, he lays hands on the resources that throughout art history have played an important role in the development of that revealing school. Perhaps Boccioni of Carrá were not but Italian expressionist rustic of movements. Their futurism was an expressionism of collective and positive look. This way there would no exist critical expressionism (Enso, Munch, Kokochka…) and another positive (Matisse, Carrá, Boccioni…) In the shapes of the most authentically local and qualitatively best appreciated Latin American art, cubism and futurism used to constitute and at the same time critical and positive expressionism, according to the cirsunstances. Diego Rivera, Orozco, Siquerios, Anita Malfatti, Portinari, Segal, Di Cavalcanti… Left a good sample of this dualism, in which the earth is seen with the love of the romantics while it was pushed toward the change. I know that for many, according to their criteria of vogue, I should ask for permission to talk about humanism amid the explanatory frame of the modern painting. On the one hand it is possible to think that the philosophical essence of art may be validated against humanism, and on the other hand, it is possible there may be spirits fanatic enough with the tendencies to be unable to judge them with objectivity. So that I will appear as a desert of the <return> (is there safety when one turns around the corner?) I must confess that I liked this return to the practice of paint looking at our own culture, support of authencity. I like this Miguel Gómez grown ups that into his own <element>; owner of his own personality, sincere with his practice. Quality and authenticity are the two adjectives that I shall use to refer to the basic qualities of the painting that he now shows us. Ignacio Nova Hábil y capaz,
Miguel Gómez,
no aparta su mirada de lo que le rodea. No mira a París
para tratar de ser auténtico. Ni
ve hacia Nueva York para ser moderno. El mira su propia historia. Trabaja
con los elementos que una historia del arte nacionalmente trunca
pone en sus manos. Con autenticidad se esfuerza, con logros
significativos, por acercarse a la calidad de expresión, manteniendo
un conjunto de elementos salidos de lo vernáculo, del origen. Gomez relies heavily
as an artist on his personal memories. His paintings clearly depict
the clothing, movement, color, dance, carnival, vendors, and the
popular stories of the people of the Caribbean. Throughout these
countries history, as is characteristic of Gomez’s work,
Africa reflects a strong presence. Gomez’s art has been shown
in more than 60 international exhibits. Selected Group Shows
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