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Sobre la obra de Tadeo Lázaro
Regarding the work of Tadeo Lazaro
The act of drawing or painting, on paper or cloth, produced through ink or oil, they take the dimension of symbols entirely produced in the manuscript and brushstrokes of Tadeo Lazaro Garcia, a feature that completely fills his work.
It always prevails like the act of painting, a correlation between the artist and his or her environment, in the trajectory of the traditional drawing. In an obvious and often indefinable manner, this artist does not only bind himself to a location considered telluric, but he carries out his interpretation and his chronicles, expressed and occasionally saturated by subtle vehemence. However, it is always realized in a very clear manner, the interpretation of reality to the one that is seen as surrounded sometimes surrounded, and that occasionally observes through the attentive contemplation and inclusive awakening of his own world.
The poetry, the aesthetic and the mystical, are perfectly comprehensible in the presence of some works always defined and serve as the definition, where neither the colors, nor the lines dilute or insinuate themselves. Instead, they affirm themselves.
A dialogue about the land, the air, the fire and the water do not only illustrate that it is difficult to evade oneself. However, they also reveal the relationship among these forces and denounce their different characteristics often on the level of fleeting trivialities, and other times, with total certainty and forcefulness.
In order to realize a critical a critical chronological analysis of the work of Tadeo Lazaro based on the previous years, it is necessary to evade oneself from the chosen affirmations; this endeavor is difficult, but its technical disposition denotes three clear aspects:
The linear character of the drawing;
The definition of the space based on the stain;
The integration of the line and the stain, in a single unity of realization.
Two contrasting conditions transmitted in the first side, from one aspect, the search for a concise line, exact and that sacrifices any other imperative for the harmony of the line, and from another aspect, the power of its expressive character, almost expressionist, that intends to accomplish it like an essential affirmation to the lyrical vision. The second one is a narrative and a simple approach. In reference to the implementation of the stain as a definition of the space, the majority of the experiences are tied to a concrete genre of drawing, the subliminal scenery, where the stain marks the guidelines of vision, also guides the perspective and confirms the essential zones, a tree, a branch, a root, a bird.
The third variant, the integration of the line and the stain in a singular unity of realization, seems to respond to the intent of combining instances that apparently conflict. The instances that conflict consist of the case that responds to a poetic impulse and the one that is motivated by an intention to reflect on the individual’s occasional chronicle, regarding his thoughts and experiences to a real or transformed reality.
The artist’s talent moves through this channel, and finds its maximum opportunity for expression for this point in time.
We have contemplated his work within his collection, not in isolation, exploring the diversity of his facets and affirming the multitude of his skills in his production. In his work, the rhythm of images are the work and testimony of a love, affirming his capacity of synthesis and his artistic personality and his ability to look around using his intelligence and sensibility, using discretion and rigor, with fate and hope. The theme and the subject matter of his works varies, but we should especially focus on the series "Danza en el Bosque" made over paper with the utilization of black ink and simple colors.
The drawing in the work of Tadeo Lazaro forms part of an architecture line-volume that, through her, achieves the formation of an object that truly lacks form. Schools, nor professors, neither didactic nor somewhat old-fashioned have perturbed or perturb that virginal vision of the things, like the purity and happiness of a first-born. Tadeo Lazaro always prefers total isolation for his art. Just like Benjamin Palencia the great Spanish professor of the last century, who Tadeo Lazaro resembles in his dyes, in his landscapes, Tadeo Lazaro poetically interprets what he sees or feels, scratching or staining on the paper, his dreams, his sensations, like a young boy who draws, his images are transmitted with a sense of sensibility and poetry.
His vision of things is completely unknown, so much so, in his painting, in his oils, like in his drawings, in his dyes, it seems that his system does not have a method. His drawings, his dyes, comprise a nervous system, a refreshing universe. He is a creator of worlds that possess strength and liveliness.
The work of Tadeo Lazaro perceives the cosmos in an envious form and even wakeful from his interior world, a characteristic that is fully portrayed in his drawings and in his paintings. Due to the proportions of production in which the art converts itself into the reflection of the immediate and in the midst of that fascination painting, and drawing take on a dimension of universal metaphors.
Art Critic
- Rogelio Gil
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