"Hector Acevedo is a painter who shines. His work, equipped with the technique ofthe great European masters, easily seduced by its rich color and layering colored glazes create a language, suitable for the world they inhabit their characters. her playful ways move with surprising harmony in the environment of a landscape that seems secretly accurately dominated by red and blue spaces that surround his work in a very unique magical atmosphere. I can say that Acevedo combines a world of immobile beings, which appear like a dream, a dream in which lovers are given to the eternal joy of an engagement. I am not surprised that this young teacher keep giving us a work that transcends and constantly renewed, confirming indeed the strength of his talent. I leave to time, say whatever the artistic maturity of Hector Acevedo holds. I predict, though, the more noble in its success, and force. "
LAND OF SHADOW
1.- Although it can be detected in several of his early works is all the recent paintings of Hector Acevedo where the night is so clear and uniform that reveals itself as the sign under which the artist calls and stands - or dreams - their world. This feeling prevails even in those paintings where most distant from the dark colors. And when his scenes seem to spend hours in a day of targeted doubtful shadows on the faces of his characters enough to "nocturnizarlas" as if the night emerged from them. But beyond the shadows are also responsible for this effect the Fates attitudes, gestures elusive, the sidelong glances, the abiding sense of hiding something. Those who believe that this painting represents a level of happiness or love, but neither is to blame for this failed because the bill first impression of the author precious and an inventory of its elements leads to this reading: his characters, male and young women, apparently eager to make contact, a "closeness" in the midst of nature inhabited by a fauna of which are usually benevolent creatures to humans or, at worst, are at the mercy of the fickle mood them. But really, the characters want and also fear getting involved with others again and that has made them hesitant, indirect, obscure. Animals have a curiously active participation: the horses - with good looks masculine - women carrying a weightless, and the dogs, which for some cultures to be function as guides of souls to the afterlife, are excited about the women and very attentive the alarmed birds fluttering about who bear the responsibility to entertain and, above all, silence delicately these men and women, putting on her lips just a tiny leaf torn. In this gesture - a kind of rule of silence enforced - we can interpret that in the game of love the words used to lie and you'd better shut up. In the weightlessness find the clue to understanding this world is governed by other laws and, as limbo, is a transit space, appropriate for ephemeral encounters between people who are already ghosts or characters in a dream that starts to become nightmare. In Blessing, the gesture seems more like a disastrous spell that the sign of a good omen on the woman's pregnant belly blue. In the midnight ride, a bride dressed in white, almost a "appeared", is conducted in a trance or asleep for a red horse, and the same, in another of the boxes, and without a veil, is embraced by a man almost vanished or become shadow. And so in the remaining works are serious movements to the point that to avoid to smile or talk or kiss some lack of mouth. In this strict order seems only winged males riding a bicycle partially achieved consummate his desire. (As the rider of the Annunciation, which seems to escape the grim woman whose belly is growing and a small tree). The small size of the houses and buildings that sometimes form the surrounding landscape suggest that these meetings, these quotes in the middle of the night, there are far away in the confines of a kingdom of which are banned. The idea of unbridgeable distance passenger is present in the memory, an archangel no musket, which flies over a forest of trees with eyes as a small town is trapped inside. And in a similar position-cloud gravitational naked woman whose breast milk drizzle.
2. Hector Acevedo, although born and trained as a painter in Lima, plastic achieves maturity in Trujillo, a city safeguarded at a safe distance from the vagaries of the capital of Peru and cultural scene which is backed up now for hosting a Biennial International was founded fifteen years before the latest of Lima. That history, no doubt, acted in favor of sustainable development in a watershed eminently figurative and pictorial characteristics supported by the work of a group of architects that has strengthened, rather than a style, a high technical requirements and match, theme over a fantastic descent, in some of which we can recognize, initially, a certain influence in the anointing chagalliana-engaged with their craft.
3. At first he was the night and the night seems to be the space of the unconscious of the artist. From there comes the poetry of his paintings, fiction and dreams and at risk of seeing disrupt suddenly nightmares. It is not often that a painter raises, with elements in other cases serve to back up the topics of happiness, vulnerability of the lover, the high price of pleasure, surrender of freedom, love as a game in which normal is shot down before they succeed. Love as something dark.
Manuel Munive Maco