LAURA’S WORLD by SANDRO DE LA ROSA
October 7 – December 4
Laura, a state of The Soul. The poetic art of Sandro De La Rosa
by Yissú Pedraza
Frequently leads to a confusion with surrealism by an oneiric appearance to present his images, but Sandro de La Rosa doesn’t paint dreams. The artist remains always linked to a reality and to the model, and it’s in the creative act that he has maintained his eagerness to keep alive his creative display, without insurmountable frontiers, with no end whatsoever could not happen. Under the title “Laura ́s World”, Kavachnina Contemporary presents a sample of the most recent works o f this artist , as a follow-up to the known series of portrait of his daughter, to which we go back to, because we are interested in finding how much spirit of renewal can we find in paintings that have exerted a particular fascination for the very personal and magic character on which he consolidated in the past decade, works that have set forth a code in which beauty is not at odds with intelligence. And that seems to continue being the path of Sandro De La Rosa. The artist brings to this exhibition his distinguishing method of painting, a sort of poetic art fate that begins with pictures and is immediately delved by the refined and selective glance of Sandro giving himself away his faculties of interpretation and his skills on drawing, color, contrast and composition, involving the girl in scenes full of visual games. In his exotic poetry, his profound fantasizing and live sensitivity stands out thus making of his portrait a uniform pictorial exercise but never repeated with a deep approach and very clever on the subject matters for they are never mere productions. The artist pressing need to express his feelings was the first cause that made the character of Laura is in his paintings. Very soon becoming a series. Her pure image was in contrast with the world that for her was not yet an obvious reality: the ruins of a city that still is a matter of existential reflection through its fragments that resist the passing of time, abandonment and devastation.
In this context the “Miraculous equilibrium ” is recognized for the way in which the artist visualizes the character’s life in that urban environment, with the very contradictions of a city to which miracles are banned. The ancient columns and the pediment, that still bear witness in favor of a lost splendor, feeling a haven of peace where the character lies like in a state of grace, certain of the setting with his past, on one’s back and indifferent to our astonishment. And is the look in her eyes that get lost in an uncertain remoteness, that shows us a character released from the anguish of a world in danger, before the opportunity of discovering in the blue sky the real meaning of the world, the window towards an infinitely transformational universe, where only she can find her own path and finding her self.
To that end “Rebirth” and “Countdown “come to be expressions of that individual deployment in a quest for the human and spiritual growth. Two great works that share that space full of meanings and ambiguities which is “reality” – referred to in particular through the texture of wood, stamp in those pictures a characteristic hallmark, – in contrast Laura’s image whose strength is bases on her first impact, in the freedom of her visualization with the power of suggestion and in constant exploration from the intimate, tenderness, boredom, and sensitivity. In none of the cases is there a danger in protecting her, denying the presence of monstrous, on the contrary it is more or less admitted when the artist tries to provide her with tools in the discourse of existence.
So, this is how we co me to “Mimesis”, a colossal work that reveals the intensely greatness of an ever more consolidated poetic, where the balance, color and organization o f fine art elements in the visual field suggest meanings ever more less descriptive and much more symbolic, aesthetics and poetic; in an audacious synthesis that has made the message dryness disappear for it conveys the setting to build the body in the main support or area of elucidation or confrontation between reality and fiction.
Favored by the physical and psychological growth of the character, and stripped from vestments, the image proposed indicates the election of leaving behind oneself the previous life to enter into a new existential dimension. Nature and the human figure are interweaves to such an extent that the existence of one necessarily assures the other, and create unity that embodies the natural vital spirit and individual life strengthened and protected by its action.
The metamorphosis runs throughout the whole work by means of vegetable forms that serves the character to camouflage, identify or mark its hegemony which entails an awareness of feminine attributes, likewise protectors and useful for survival. Similar authenticity, begins to defend an image that awakes immediate interest, being one of the outstanding features the contemporary impetus and vision of the feminine world through the look of a man, who being a father transfers the alien universe in his own with a peculiar style and nature, through a painting enriched by enigma, ideas and symbols.
This is the essential in Sandro’s paintings; there is a on-going struggle wishing to reinvent in his composition structure and his projection of an imaginary world but also real. The realism that he can create through meticulous attention of details, harmonizing with elegance imagining and symbolism has giving him a deserved place in the vast field of contemporary representational art.