Ernesto Torres

Where a freeze frame in time becomes poetry.

José Lezama Lima, Cuban illustrated intellectual expressed his sympathy for the Seventh Art relying on his idea of Cinema as the most accurate exemplification of the eternal pursuit of the unit by man, adding that all these forces that contribute to the unit of man are noble forces, and all these noble forces already are born and designed to achieve this unit.
Noble and overwhelming force, is what is perceived in each proposal paintings by Cuban artist Ernesto Torres. Stripped of all localism, his paintings acclaim the need for a reading that is given completely to universality.
If we listened to speak of an artist whose work is based on motifs extracted from films frames, either of films that have become icons of cinema or of others unknown by the average viewer, we appeal almost unconsciously to his association with new technologies. But if instead of a digital reproduction, we find the frame captured on a canvas, you could experience a kind of uneasiness, faced which we could not show us guileless. And the artist who with deliberate purpose leave us perplexed, is attracting our attention and putting in check all of our senses.
At first glance, the motives which charge materiality and vitality own, in the confident brushstrokes of Ernesto, would seem the mere representation of actors in full display of histrionics, or of landscapes and photographic framing of an evident visual appeal, but the hidden discourse , is based on a deep psychological and conceptual analysis of a specific moment in a film. His paintings don't intend to enclose the entire narrative hank of the film from which it comes, but as a completely independent particle, lacking explicit beginning and end, evoke the critical look of the viewer, this questioning look that can only be established through a change in the percepción state: from one which the cinema sets per se, to another which isn't already of fruition but of contemplation, able not only to evoke the critical eye of the viewers but also appeal to their feelings, experiences and their full integrating on the motif depicted, not as a pasive observer but as co-creator of sense.
That gesture of so unprejudiced appropriation of the film frame (like whether this were a portrait or landscape naturally ) tries to return us to the much mentioned the Duchampian ready-made but this time keeping its own reserves, moving away from the concept classic, because neither the film frame nor a digital surface are exhibited into the gallery but the change of these supports by the canvas, it becomes essential, giving to the pictures and this gesture in itself much more complex concepts that anchor the speech of its creator.
Ernesto is able to capture the beauty of all those plastic elements intrinsic of the images that film only shows while lasts the shoot (or shoots) on that is enwedged, to display it after as a work worthy of contemplation.
The contemplation of the viewer into the audiovisual work is no longer a game of contemplation but rather of fruition, which is a spectacular dimension of creation. However the receiving a painting can approach to a contemplative state(spiritual state that appears in the human being when practiced mental silence), because here the viewer does not have the urgency, is free to appreciate the time it takes. Ernesto takes to his canvas, masterpieces of cinema which will be immortalized on a film frame that according to his subjectivity, synthesizes countless ethical and aesthetic values. The persistence of Ernesto in that the painting becomes the support of his speech lies, without room for equivocal by not making use of messianic technologies, in endowing at the new product from the visual language of the mythical aura and of this divine halo, becoming therefore each painting in a unique piece, as the ancestral concept which initiated the traditional classification of the Fine Arts, in contrast to technology products, completely exposed to his abusive reproduction.
As the most secular of manifestation, Ernesto brings a bold proposal that enrolls turn a number of interpretations but that at the same time they polemicize about current issues as the advent of a spectator ethereal, a spectator stripped of all gravity and of the capacity for contemplation.
With a synthesis of the details of his pictorial motifs, with that go to the bare minimum, is capable of emitting concepts as varied as there are human questions: loneliness, alienation, freedom, pain, fraternidad, crossroads, equality.
When we put ourselves in front of the work of Ernesto, you can not act as mere passive observers a cinematographic work. The question crops out, and we need to rethink the film beyond of a masterful display of histrionics, beyond of an exceptional conceptual interpretation by the part of the cinematographer, musical composer, art director or the director. His paintings we put into perspective towards the problematic of the Cinema as a powerful factor in the projecting of values and counter values social and cultural.

A freeze frame on a canvas is already poetry

By Lenia Castro