If at any time in life we thought of the things we would need to be happy without such a story, surely our mind would come to the relationship with nature, which so well focuses man on his primary needs.
Artist Rafael Villares somehow reminds us of this truth. His creative essays on landscape, as well as the perception of space and why not even time, tell us that the same energy (almost magic) with which plants, animals and man grow is the energy we need to live, which is enough of superficial desires.
In art, Villares soon matured. Since his time at the San Alejandro Academy of Fine Arts, his works went beyond aesthetic beauty to question the dimensions, colors and even the essence of what we see them. Any preconceived idea ends when the spectator stops in front of his pieces.
The natural and organic, as well as the limits, acquire another dimension, at the moment in which a big flowerpot or blue roots in expansion, palpitate with an unstoppable will. From silence, this discourse announces the existence of a force of another nature to be discovered, a force that absorbs us completely.
Villares' creations deserve time for analysis, since it is not a question of looking at them for their sensation of strangeness or simple pleasure (which in these times is even enough), but because after inhabiting them, the notion of what really matters changes.
Very close to Maxima Gallery-Studio is located the installation of the artist Tree of Lights, of great popularity in the XII Havana Biennial within the project Behind the Wall. A simple reading of the piece explains the connection between nature and technology. As its name indicates, its genesis is based on what is traditionally known in Cuba and the world as a pole of light, but this time in the form of a tree that branches and spreads its wings.
In Maxima you will find works 1, 2, 3, 4, 5 and 6 (Sketch for Site) that wore their face for the first time at the opening of the gallery with the exhibition Lights. On the walls of the Gallery-Studio it was possible to observe their dimensions, as well as the degradation of the blue color seen through forms where the human condition offers a different face. An exclusive touch presented our space at its inauguration.
For its part, Danube River and Yucon River, blue (also) is the color regent. As in several of his pieces, Villares once again questions dimensions, takes us out of the zone of visual comfort and stops at its lines, where he gives a different order to each work and with it new interpretations. It forces the eye to focus on minimal details, on spaces in the painting that "pass over" and we do not give the reading it deserves.
It will be necessary to closely follow his creative pulse, his condition as an artist separated from conventionalisms and vices in art. Villares has shown more than enough signs to recognize his style in the complex world of the plastic arts of Cuba and the world.