With a lot of talent, cleverness and impetuous will Nelson Domínguez has begun this 2007. As one of the more prolific Cuban artists he has surprised the spectators that go to the National Museum of Fine Arts and the gallery The Acacia in these days.

In the first of these spaces Nelson exposes works starting from wood and paper that allow us to have an idea of the aesthetic and conceptual evolution of an artist who doesn't hesitate in abandoning conquered territories to experience new directions.

It is necessary to stop with attentive eye before the sculptural installation that dominates the pulse of the sample: a massive march or avalanche of human figures, conformed by carved assembled wood, wrapped up by the shine of the wax that covers them. This work acquires a dramatic value of epic resonances which is represented like a way to entreat the fragmentation of the destination of the human beings.

While in many parts of the world the assemblages remit us to the bewilderment, the boutade and the mere speculation, Nelson, without intending an overwhelming discursive tone, mentions metaphorically the possibility of an integrative social construction.

On one hand, the vocation of the artist toward the three-dimensional and spectacular projection that has occupied a distinguished place in his trajectory in the last fifteen years is appreciated. On the other hand, the collection shows the expertise and sharpness of Nelson Domínguez in the art of drawing. He is so pleased working in this basic specialty of every pictorial way that he has made of this support an expression of his artistic imprint.

The drawing in Nelson goes further than being a formal structure or anticipation of pictorial contents. It is constituted in developing art of novelties, in sensitive counterpoint, in autonomous visual argument. These drawings are more volatile and suggestive than those of previous stages, without leaving behind the family air that characterizes Nelson's iconography.
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The Nelson who appears now is the result of that one who, in the seventies of the last century, dazzled many people with a original poetry sustained by Victor Manuel’s, Abela’s and Servando’s sap, the one who has carried out a wide, solid, diverse, mature work during these years and who has also become sap that nurtures Cuban visual arts of the nascent XXI century.

Written by Virginia Alberdi Benítez
Source: Cubarte.