There are worlds that contaminate us, that make us addicted to art; worlds to feel them, to feel them, to see that the divine is in the here and now, that a later sounds too distant.
The artist Moisés Finalé reminds us of this truth. A total of 14 pieces open the doors of his mind in a new exhibition entitled Finale Worlds, which announces a promising journey with ceramics, painting and sculpture. The exhibition has been curated by art critic Nelson Herrrera Ysla and is on display until October 27 at the Maxima Gallery- Studio space, located on Monserrate Street, on the corner of Tejadillo.
The worlds of Moises could be categorized into six proposals. The first would be The Forest of Havana or Loves of the 80's, a piece that captures just by entering the exhibition hall. Its large dimensions (150 x 370 cm) speak of several kingdoms that coexist enigmatically. On the one hand, we see the vegetable kingdom next to the animal, to then imbue ourselves in beings with certain airs of light, which are observed when the gaze stops.
It is a work where the green color prevails and where it is necessary, in addition, to stay for some time. To fully understand it takes time, analysis, concentration, like any exercise that tries to challenge the human mind. With El Bosque... another phenomenon also happens, so to speak. Its essence contains small doses of humour (perceptible according to the state of the observer), as part of its very figuration, ranging from plants that simulate women's legs, little devils half hidden in the landscape, next to faces destined to meet.
Nearby is a second world that comes through the binomial of Insular Sweets and Looking for his dream. Each one with its own particular poetics reveals another facet of Moses, this time more focused on the feminine. At first glance, the sensuality inherent in a woman's body is the touch of beauty that the works contain.
In particular, Looking for his dream mixes Afro-Cubanities in a kind of multi-ethnic and plural dialogue. From that same family is also I don't want to fall, which undoubtedly presents us with a mirror to know if we are on the right path. Later there is another world represented in four pieces of the recent production of Finalé in 2019. Beings between the human and the animal give this sensation of strangeness in a series Without Title, which makes us question each piece and its possible interpretations.
Beside it, three paintings take possession of codes through this hybridity between kingdoms and religions to indicate to us a new universe, where the woman appears again in an outstanding position. This time it has to be discovered, since the artist prefers the enigma, as well as the second (third and fourth) readings.
Almost at the end, Finalé shows us one of his last worlds, a ceramic of diameter 43 cm, made in 2003. Like those images of Greek culture, the work indicates that the time has come to battle, to be ready for the new adventure. The face of a woman returns to become the center of the speech. The secret of her countenance is part of the intricacies that the creator has woven in the exhibition and in his artistic production in general.
Like ceramics at last, the three-dimensional sensation is intrinsic to its format. It is one of those works that you want on the wall of the house or of any gallery for its power of adaptability, to renew itself anywhere and to dialogue with various creative formats.
Finally, the world of the end encompasses the previous five, containing elements of Afro-Cuban religiosity, eroticism, masked faces, as well as mystical deities in a large sculpture that bids farewell to visitors once they leave the Studio Workshop. Six possible worlds is the proposal of Maxima's exhibition, which promises to take the spectator out of his comfort zone and show him the poetics hidden in fourteen pieces.
Published on 22/10/2019