IGNACIO LÁZARO GARCÍA MEDINA (Cuba, 1968). Untitled,... Lot 15

IGNACIO LÁZARO GARCÍA MEDINA (Cuba, 1968). Untitled, 2004. Oil on canvas. Signed in the upper right corner. Measurements: 66 x 81 cm. Cuban painter resident in Valencia with an extensive artistic career. His pictorial work takes place in the neo-symbolist postmodern language. Lázaro García constructs his pictorial scenes mentally, each planimetric surface is a mosaic of quotations, allusions, references to the History of Art, which behaves as a visual memory from which the artist can freely extract each and every one of the fragments that embody his figurations. This plastic heritage is recontextualised by adding new semantic charges, which make the work a dynamic construct. Lázaro García is a child of his time, his creations vindicate the postulates of postmodern painting, which make the pictorial work a hedonistic product, where the recovery of the figurative image is proposed, from the process of artisanal construction, in which the figuration appeals to the fragmentary, the narrative, where the human figure and the object share the same level of spatial protagonism, the pictorial works are conceived from the freedom, the inclusion, which allows the articulation of multiple constructive strategies as well as readings and interpretations around them. He represents his truth, creates his own stories, seeking to question from them the fluctuating expressions, the aesthetic-formal ruptures of contemporary plastic discourse, as a very personal way of dialoguing with his time, circumstance and context. To the observer it may seem that his scenes do not transcend beyond figuration, but their nature escapes even from himself, to make a pilgrimage towards the spectator as a fugue. Each one passes through that which we call unique, personal, which occurs like a theatrical pose, where each resource, both intellectual and visual, has allowed him to create a language of his own, which frames him within the history of Cuban art. His compositional structures play with optical principles, seeking to direct the gaze. In this visual framework, he appeals to the polyvalent nature of the symbol in order to create a dual structure that moves between the discursive and the imaginary. In terms of construction we can see that they are not subject to an immovable structure, each one varies according to the intentions.