(Chapter One)
“… Has taught drawing, like a language that speaks not only representing your character if not the same at work, there is a kind of reflection of the essence of the Creator in his creatures. This has been a very important briefing because, as his own pieces as shown, Rene is involved in each. Every part of his work is perfectly related to everything…”
Javier Arjona Juárez, oaxacan artist. June 2010, Xalapa- Veracruz, Mexico
The first time I heard the name Almanza * 1 was from the mouth of another artist. Curiously, in later years when I decided to improve my inexperience in the capacity of the reviews of art, the main provision for reference of other exhibitors came from René‘s own voice. How well he spoke the Mexican Alfonso Guevara * 2, a graduate in visual arts with specialization in camera work, “René Almanza has always maintained a community spirit”, a quality that has earned the deep appreciation of his contemporaries.
That is why I find it consistent to begin to speak about their work by altering the usual thematic order that guided me, leaving behind the habit of starting the description of the artist from the individuality of their existing records. In the case of Rene Almanza, it is more interesting to show implicit reflection images timid, those in which it denies, confirms or leaves in doubt the discursive theorizing that apply their observant.
For this recognition to its scope, it is necessary to compile an accurate illation appraisal, whether regarding the work or humanity that is outside the professional environment. The formula that best concretized the exemplary figure of René is that which comes from the comments made on behalf of their developmental sequence. I suspect that has been through this feature that has been given the unconditional disposal of the business fraternity in which he operates.
In this way the human honesty and professional integrity of the Mexican representative, have been two of the main reasons that motivated me to talk about his career. Building on shared journeys during our common stay in Barcelona Spain, I decided to perpetuate the description of temperament that has been reflected in his works.
After several intentions to approach Almanza in the past, I think it was no coincidence that finally we meet in the circle further from the city in which located. The foreign similarity was one of the elements that facilitated the immediate link to the establishment of the dialogue in Europe.
On this remains confess that prior to the interview I did with René, I wanted to examine the transparency of the psychic and corporeal content suggested in his creations. The visual representations, with which I met him in my country, reported a paradoxical relationship with the speculative symbolization that I held. It was thus that in the civility of Monterrey Nuevo Leon I settled affinity for their parts, while in the Spanish metropolis I built rapport with his reserved ontology.
In my amateur view, the interest I had for talking with an exponent as prepared as Almanza, prompted me to cultivate a personal demand on basic concepts of artistic discipline. I conceived this as a necessary feature to make accurate descriptions, so to adhere to the sense of his referral and personal proclivity. On occasions, when there is an effect of unpremeditated art, the need to understand the phenomenon that generates positive countertransference.
The utopian attempt to make a narrative with internal focalization * 19, then depends on the assimilation transferred in intimate communication with the creator. However, without waiting to extract textual basis, I realized that the works discussed mainly concerns the drafting of texts with external composition * 19. The reason for this is that the credible motivation within the visual parts lives only in the reserve of the authors. As is well recognized by Rene Almanza “… communication in the painting is a conversation of sorts with empty spaces. The message is issued is not always so straightforward … people complete their unfinished readings. ” (R. Almanza, 2010)
In this way the viewer enters its affinity to art, whether by the aesthetic appeal or its desire to consummate the arguments that are not outwardly. I do not know if such clairvoyance like men with talent. Either way it is remembered that “The art is displayed under the need occasionally aesthetics of those who need and like to be disappointed, those who believe and are recreated“ * 20
Both the public and developers, new findings reveal surveillance. Once you look back at the completed product, recognize truths that went unnoticed by his conscience. That’s why I wonder: how the artistic seduction exists without the special permission of the glosses?
If we wanted to avoid the effects of the paintings and graphics, we should close our eyes and we should vet our imagination to the time of the suggestion. Decry the understanding we would need the images and stop exalting the creature that reproduces the unreality in the material. In this way, art is like that movie classic that no one wants to remake, because the justification to stick to one subject; we would not see the personal attribute that was introspective.
Turning to another role outside the trichotomy: transmitter, the work and the receiver, the figure comes into play that talks about the interactions of those elements. With regard to my role as editor, which doubles the terms subsequently asked the artist, I recognize that words have never been entirely free of conjecture. Yet having tried to be fair in my writing, I have escaped the attempt to tell stories of the pictures that I contemplated.
Rene Almanza in Barcelona is a post from: The Citrus Report | Art, Culture, News, Graffiti, Music, Street Art, Clothing, Politics, Reviews
