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La serie “Interpretaciones pictográficas”, es una extensión de la similar realizada en el año 1997 que se llamó “Pictografías del IntiHuasi”.
Aquella serie nace en un registro levantado por mí, en las galerías del Cerro Inti-Huasi (Casa del Sol), en la Pedanía de Achiras de la Prov de Córdoba en Argentina, en los años 1995/97. Esa experiencia fue volcada a una exposición de 18 acuarelas, realizada en el año 1997 en Galería de Arte Mascia de la Ciudad de Río Cuarto.
A 22 años de aquel hecho (2019), vuelvo a retomar el tema de las pictografías y registros rupestres. En esta oportunidad sin visitar de nuevo las galerías de aquel lugar, sino, tomando aquella experiencia de una manera totalmente diferente y “haciendo una remake” de los registros tal como quedaron guardados en mi memoria; no solo del contenido del Cerro Inti-Huasi, y de otros asentamientos avistados, sino de otras imágenes y simbologías provistas por la información pública existente en las redes, de otras muchas reservas aborígenes, sembradas alrededor del mundo.
Entonces ahora, el uso de la palabra “Interpretaciones”, me deja la libertad amplia, de usar esas formas, como una excusa para modificarlas y que la pintura resultante, tome empatía fuerte con mi modo y forma de hacer y pensar la pintura.
"Twenty years is nothing" (*) Year 2018
Whoever reads these lines probably does not know that Abel Fernández is from Mendoza. And in truth that condition of origin would not have any importance for the purposes of this exhibition if it were not because that "being from Mendoza" places his work in a recognizable territory, and outlines his belonging to a school that has given other artists such as Carlos Alonso or Luis Scafati, to name two of the greats.
Abel Fernandez's striking, subtle, blurred, suggestive drawing line is the daughter of that school, and is the first element of his work that provokes deep admiration. About 25 years ago, when he made his first exhibition in Río Cuarto, the subtlety ofthat loose line showed a forceful capacity to load the figures with drama.
That impressive essential faculty, to which he adds the naturalness with which he works various materials and supports, then subordinated color as a surviving element, although used with careful adaptation to its expressive purpose. But the Abel Fernandez of this exhibition, makes him advance to the foreground, and without becoming a colourist, he adds to his baggage a palette that, although not very wide, is indeed overwhelmingly expressive.
By calling this exhibition "20 Years is nothing", an obvious allusion to "Volver", the famous tango by Gardel and Le Pera, the artist makes more than a numerical reference to his prolonged absence from the exhibition halls: since his series ("Tango y Músicos", "Los Cóndores", "Las Frutas" - dead natures, "Bailarinas y nudes" and "Que se commission el otro" (originated in the wonderful "Los Niños Primero" time), they revisit images of the past, the title is almost an ironic resource. Because, 20 years later, Abel Fernandez not only continues to be the remarkable artist he was then, but these "remodeling", these "retouching", these "revisions" allow us to experience the splendid empowerment of your creative condition. So this exhibition that you admire, instead of staging that return with withered forehead to which tango alludes, shows it fully, and with a shocking enrichment of his faculties of always.
Text of the presentation of the journalist and critic Ricardo Sánchez
(*) "Twenty years is nothing" is the name of Abel Fernandez's exhibition, inaugurated on November 9, 2018 at Casa de la Cultura Córdoba, in the City of Río Cuarto, Córdoba, Argentina
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