Presentation
Presentation

The years of activism painting of Hector Acevedo summarized in two well marked periods of development. The former is characterized by the construction of shapes and structures which inhabit extremely simplified worlds. It's time huanchaqueros characters and dogs that bark at the moon.

The colors, bound in thick lines of the drawings, refuse to be free and are consumed in the stiffness of a few chromatic nuances. In the second period, the artist abandons attempt that sort of reduction and plunges into a surreal quest amazing. It does not reduce the forms to the essential, and claims to improve his technique, how can the orthodox surrealism, the subconscious. The new characters (no mouth Madonnas, caged birds or flight) are a bit more defined volumes, working strokes and different colors. After the entry of the Madonnas, Acevedo compositions give way to lush ficus loaded from prying eyes and leaves that break the law of gravity. A cursory reading might lead us to believe that trafficking to the function to induce to sin, since they are naked and tied to a tree that might be the good and evil. These creatures, however, are not we move to the sensual or erotic. Beings are rather enigmatic, silent and melancholy that speak, or rather silent, from a dream beyond (Romances, Nymphs). In the interval in which birds, trees Madonnas and appropriate the fabrics, archangels appear suddenly falling noiselessly and bishops who look without seeing. This is another of his creative moments. In this, the strong religious component and, at times, anti-clerical work warns us the desire to communicate ideas, rather than forms. However, a visual level that is more important to him. His first task is to resolve what happens in the spatial boundaries and only later figure out what exists in the semantic level. 

The plastic world of Hector Acevedo has been enriched by so slow and safe. In its evolution no sudden changes or surprises case. There is a continuity as increasingly rich and complex. Acevedo never repeats. Neither is a stranger to himself. The crude figures of the early days are now women painted with exquisite strokes, while the trees blur of his middle period have exchanged small universes from which they emerge houses, churches, amorphous beings and scrutinizing eyes. Often the female presence of his paintings away and let the trees (The Recreation elves, intercourse on a fallen tree) root in the imagination of the spectators. These are all the time in his canvases and are factors of enigmas, life and time.The Acevedo boxes have nobility in its construction. After glazing, the blurred, dark backgrounds and levels crimson, vermilion and ultramarine lurks an affection as strong as the pigments of the oil, I mean, his paintings exude life experience, deep states of consciousness. Fund and dialogue are the same height, with the same speed and with the same skill. There is no divorce between what he feels and what it does, between what we think and what they run. Its plastic universe, as we wrote before, is rhythmic but goes directly to the target.

Luis Eduardo García