Luis Cruz Hernández
Mirar con la mano
The aerial plasticity and poetic absurdity of Luis Cruz.
The aerial plasticity and poetic absurdity of Luis Cruz are an astonishing discovery of the juggling of emptiness, of the lines and angles that no one knows and which frame and sustain invisibility. Luis’ acrobats, characters of an impossible transgressive circus, show us, with the harmony of their constant movement, the blossoming of poetry and beauty in a world of capricious edges and dark depths. These end up being a secondary aspect in Cruz’s work, becoming the same scenario but evoking different kinds of chaos, identical in the outline of their spider webs. The only true, magical thing is the figure that arches, balances and sustains itself. His work is a constant and unstoppable rhythm that peeks into thoughts, dreams, even fears, as in the image of a woman in a boat. This image, like another of Luis’s boats which transports a man looking ahead (resigned to his fate, mute and blind) in the waters of nothingness, are dreamlike images that invite us to sink into the sewers of the thousand and one grays of the subconscious. Luis Cruz’s characters move in a non-doing of movement and a non-being of space. The environment, barely suggested in Luis’ work, is almost irrelevant, and it is the characters, the grace of their balance, their dance, their journeys, visions, illusions and dreams who star in the dark magic of his narrative. It is the restlessness of life in its pure flowering that this painter rescues and evidences from the world around him. The poetry of forms without discourse, but through their own substance.
Renée Nevárez Rascón
SOBRE EL ARTISTA
Museo de Bellas Artes de Asturias. Oviedo.
Museo de Albacete. Albacete.
Colección Unión Fenosa. A Coruña.
Colección La Caixa. Barcelona.
Colección Caja Burgos. Burgos.
Colección Norte. Cantabria.
Colección Caja Madrid. Madrid.
Fundación Simancas. Valladolid.
Junta de Castilla y León.
Ayuntamiento de Valladolid. Valladolid.
Ayuntamiento de Augusta. Augusta. EE.UU.