'I'm still dissatisfied, otherwise, I'd be still repeating myself''. This dissatisfaction present in his own artwork and the sincere vocation of responding to any time, allow this artist, Adigio Benitez, who receives the National Prize of Plastic Arts at National Museum of Plastic Arts, to exhibit as an own style the permanent renovation of his artwork.

ADIGIO SEEN BY HIS OWN ART.
The political drawing as starting stage of his creative development allowed this young graduate from San Alejandro and member of Popular Socialist Party, to express his natural ideo-aesthetics needs and find in the daily labor, an exercise which, despite its imperfection in its dynamic, it's rigorous enough to consolidate its line to service the social reflection.

Being concious about the differences between drawing and painting, Adigio searched also in his first oil paintings a pictorial closing to the humble Cuba. As an homage to poor people, his first figures on canvas appeared, giving continuity to that first contribution of the Cuban vanguard highlighting Pogolotti, Víctor Manuel, Carlos Enríquez and Abella.

''The revolution, although young and threatened, let me to achieve another level of artistic thought. Together with images of militian men, workers and the new Cuban woman, emerged the Welders, a series which expresses, in its plastic solution of composition, space and color, a good use of the abstraction possibilities.'' That is the artist's appraise for another stage where he achieved creative maturity and start his magisterial delivery, firstly at National School of Art and then at Superior Institute of Art.

''With no doubt, my development nature was stimulated by the contact with youngsters. The renovation and research I was proposing to that new generation, was the same I impossed to myself. I felt like the older brother of my own pupils''.
To Adigio, Picasso and Dali examples, as growing and permanent mutations at painting, are more preferred than other artists who, as soon as they achieved a sucess work, languish over their best patterns.

Coexist with post-modernity within which, this seventy-years painter is still working, does not implicate the abrupt for a man who managed to assimilate, at his experiences with lines and forms, influeneces of cubism, surrealism, Pop and Op Art. His Papyrus in Havana sum up all the absurd to his poetic, at the end of 80s and early 90s, he feeds of appropriations his plastic universe in obvious concordance with contemporary.

In his studio, we can see today, in acrylics on canvas, a couple of guajirios in love over a horse maybe in paper. Through this image the Gitaan Tropical of Victor Manuel is coming back. More implicit lines, more color and a paintbrush more pictorial any time, allow Adigio Benitez to keep on feeling the dissatisfaction as an incorregible necessity.


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