Chronicle of an instant: dark section (night)

The series is made up of 22 paintings by an equal number of Mexican painters, in memory of the famous author of the novel Rayuela.

Rayuela meant a literary impact and broke paradigms on how to approach reading, since it can be initiated from anywhere.

The charcoal drawing of the MUSA's collection was one of the first works that gave rise to this series that shows disturbing images of human beings who suffer from social abandonment.

Exiled From the Empire of Reason, portrays one of these beings who live abandoned in their own world, accompanied only by a stray dog ​​that appears to be in the same state of helplessness.

More than a face, it looks like the mask of tragedy represented in an exalted image that seeks to convey a mood and not the appearance of the features.

Also, in the monotype, a face imprisoned with dramatic expression, exceeds the lattice that constrains it.

A piece that is divided as a medieval triptych, with a central square and two side streets, where the apparent protagonists are things, although they show the world of those who own them.

Several pieces of clothing, a pencil, some books, pincers and nails, the tip of a corkscrew, express a message that encloses another, which does not appear, but is suggested in the painting.

The piece Family Memories sums up the terror that provokes the memory of something inexpressible. The fleeting sensation that crosses through the memory without the reason being able to register it accurately.

Volatile evocations that find an outlet on the canvas. A man wearing a wedding ring observes with a malevolent expression, food leftovers and utensils gravitate in the space.

The figure of the character is barely glimpsed by the effect of the lit cigarette, giving the environment a tone of intimacy. The color is reduced to a range of blues.

Four small red angles located in each of the corners of the frame suggest the presence of a witness who takes the scene through a photo camera or video camera.

The contrasts of lights and shadows allow to take a glimpse inside a simple room and a bed without ornaments, which highlights the narrowness of the space.

With the above, the author manages to make the painting a metaphor that speaks of the limitations of its inhabitant, whose anguish is guessed between the untidy sheets.

The piece Afternoon Sun shows three characters placed on different planes, in two simultaneous scenes separated by areas of color.

The yellow background highlights the moment of the afternoon light and supports the presence of two men representing the street scene of an assault.

In this work the color applied in thick layers is reflected, with some flashes of red, highlighting the fluidity of the drawing on the large surfaces of his canvases.

The partial vision of a face is put infront of the viewer, where the attention is focused on the tense grimace of the lips and the bleeding tip of the pencil that appears between the teeth.

The small pencil drawing shows the fine qualities of the drawing that the artist uses to interpret an exalted vision of reality.

All its anatomy seems to support a contained tension, where only the hands denote a movement, suggested by the repetition of the lines that are reflected as an echo of less intensity.