“(…) So, always hidden, its inner essence should be contemplated.”
Tao Te Ching
Anchored to painting, Karlos Pérez has employed tons of pigments to master this medium. With a background in photography, video and video installation, the investigation conducted by Karlos Perez has established an order of discourse construction where semiological gradations operate a relational dynamic in the work itself. His paintings have blurred – like the airbrushes he employs - the order of the traditional discourse of art. In Karlos, expressionism blends the abstract order, which results in challenging the position in the field of a secularized concept of portraiture. This is where the power of images acquired an existential character. They are not "portraits" in the traditional sense, but rather the experience of the image that captivates and makes a Karlos Pérez into an experienced craftsman. The existential is only self-explanatory from the picture "represented", hence the character of the agonic and dreary opportunities in his proposals.
Playing? Opportunities resembling a personal condition, all works associated with the Ametropia series, result in a search wherein the pathology becomes an operational mode for the construction of images. The result is not only the "blurred" product of condition, but also the visual effort in building the image. Hence, the questioning of the image’s very nature, its originality, its incompleteness, its reminiscences and how its constitution operates, debunks the optical / geometric metaphor that modernity has “constituted” as powerful refracting of reality. Reality in the sense that "spatiality" is distorted. Quite the opposite, not for it to lose itself within a pictorial space. Spatiality is diluted into a cluster of planes that refer to this semiological gradiation of which we spoke earlier. So to Karlos Pérez, "each domain of experience or cognitive dimension gives us a specific configuration of the world that includes us within it." From which we sense that "there are no isolated experiences, all are fruit of a particular mode of interaction by human beings in a world vastly different in context and time."
Karlos Pérez, despite his youth, is a good example of how recent contemporary Cuban painting – to be defined with much tact in order to understand it, but the purpose of this text is other - has been shaping his own space, exploring a domestic and international production on "equal" footing. The pertinence of his search, not only at a formal, but mostly at the conceptual level, places him within a rich dimension for the current, but especially for the future of Cuban art.
Antonio Correa Iglesias
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