Ernesto Gutiérrez Moya - CdeCuba Art Books

Ernesto Gutiérrez Moya SELECTED WORKS

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Ernesto Gutiérrez Moya SELECTED WORKS

ERNESTO GUTIÉRREZ MOYA | SELECCIÓN DE OBRAS

Editorial concept: Ximo Sánchez Editing and Production: CdeCuba Art Books Text: Estela Ferrer Translation: Olimpia Sigarroa Design: Judith M Carbonell Printed by: LaImprenta CG. Valencia, Spain Photographs: Artist archive © in this edition: Ernesto Gutiérrez Moya, 2019 © in the texts, photographs and tanslations: their authors, 2019 www.ernestogutierrezmoya.com

Index Architecture and Its Secrets Estela Ferrer Raveiro 06

Biography 64

Texto en EspaĂąol 66

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Architecture and Its Secrets Estela Ferrer Raveiro the architectural spaces; elements that turned the artist into a representative of metaphysical painting and an antecedent of surrealism.

Within the changing dynamics of contemporary art, painting still harvests followers, particularly in the largest of the Antilles and among young creators. The art form of Ernesto Gutiérrez Moya inserts itself along this road among the challenges of painting and landscape in our days. In his pieces, the shadows achieved with a nib through the superimposed stripes, the well-thought color, and the fluency of the elements convoke to a visual adventure, to the enjoyment of the aesthetic pleasure offered to the spectator as a result of his drawing contraptions. Moya embraces formal and compositional subversions in a risky strategy that seeks to offer a final landscape devoid of ties and create a channel of forms where we penetrate a hand-traced world, spun in his mind as fruit of his fertile creativity.

To combine drawing and painting is one of Moya’s purposes. This becomes particularly evident in the ductile and minimal character of his formal solutions, devoid of great loads, where a horizon is reduced to a line and a group of blue pen strokes, the walls are delimited by stripes of different values, and the human figure –almost always absent– turns into small dots.

The element used in each case –curves, dots, contrasts– are only those required to grant corporeity to a landscape that reveals itself intimate and with airs of lyricism. At times there is a close reference to the cartoon in the recreation of a utopian space. Two important visual elements converge in his work to grant integrity to the composition: the expressiveness of the line and the architectural expression.

If his work is appreciated as a whole, the influences of creators such as Philip Guston or Giorgio de Chirico become clear. From the first, the evolution towards a painting close to the comic is very evident in the importance of the line in his works. From Chirico there is an unusual conception of architecture that goes through the strange and timeless character of

At times Moya starts from real spaces, and from that base he structures new fictional, intimate universes produced by his restless personality. It is at this point that the abstract

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becomes more evident in his discourse. In the process of reception, the viewer must discover the puzzle raised by the volumes, the rupture of the lines, and the color challenges, and round up his observations with his experience, because the artist will never reveal his source of inspiration in its full extent.

Ernesto Gutiérrez Moya has accepted the challenge: to go deep into the complex world of painting, and little by little he is going around his wrongs. His Estudios (Studies) show precisely that search, inquiries that lead him to materials such as acrylic and markers, the latter so frequent in comics. Moya opts, then, for two thematic channels: the organic and mutable, and the infinity of utopian spaces. His creations, undoubtedly a true painting adventure, gain meaning and take heart between both roads.

They are incognito spaces as stated by Michel Pérez in previous words, where the sky can be lateral or the shadow usurp the place of light, as may be seen in the series Aquí pasa algo raro (Something Odd Happens Here). The artist transforms the natural order of the elements, the true succession of the phenomena, and by modifying the canon he approaches a sensitivity that differs from the re-presentation of the living and its life cycle. It is interesting to appreciate how the creator manages to make all the actions that take place in the pieces happen in unison.

This simultaneity shows how a linear time alteration occurs and how it produces other dynamics for this universe.

The architecture is represented in closed frameworks, as if taking a 50 lens and walking down the street reducing each piece of reality with the objective. The rain on the surfaces like a mirror, expression of movement or space frequently appears in his scenes, and the background is always in second place. The empire of the volumes absorbs the leading roles. Color is applied in favor of propitiating contrasts, of communicating the sensation of fluidity, warmth, life. I guess it could be said that Ernesto is one of those strange artists, those emigrants –and I do not mean the physical journey since he currently resides in the United States– that conceive a universe for themselves inside or outside the urban chaos, a space of complacency without grandiloquence, to try to decipher the deepest of human enigmas: creation and the mysteries involved in its beauty.

Within that utopia that comes and goes, rests or imposes itself in multiple contemporary art forms the creator finds joy, creative freedom, and an immense fruition that shows in his selection of the chromatic range. His disobedience is not a passing fancy of realistic codes, but rather the urge to narrate with a more fresh and informal language the dream landscapes produced by his mind where a waterfall, a group of columns and an old pitchfork have high connotative level.

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El regreso. 2017 Acrylic on canvas. 36 x 36 inches 08

Selected Works

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2018 Inks on Art Paper. 14 x 11 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2017 Inks on Art Paper. 24 x 18 inches

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Drawings 2016-2017 Ink on Art Paper. 12 x 9 inches

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Drawings 2016-2017 Ink on Art Paper. 9 x 12 inches

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Drawings 2016-2017 Ink on Art Paper. 9 x 12 inches

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Drawings 2016-2017 Ink on Art Paper. 9 x 12 inches

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Drawings 2016-2017 Ink on Art Paper. 8 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 9 x 12 inches

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Drawings 2016-2017 Ink on Art Paper. 8 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 13.5 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 13.5 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 13.5 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 10 x 10 inches

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Drawings 2016-2017 Ink on Art Paper. 8 x 11 inches

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Drawings 2016-2017 Ink on Art Paper. 8 x 11 inches

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Serie AquĂ­ pasa algo raro. 2016 Mixed media on Tracing Paper. 35.4 x 26.5 inches

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Serie AquĂ­ pasa algo raro. 2016 Mixed media on Tracing Paper. 35.4 x 26.5 inches

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Serie AquĂ­ pasa algo raro. 2016 Mixed media on nylon and canvas. 40 x 31.5 inches

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Serie AquĂ­ pasa algo raro. 2014 Ink on Tracing Paper. 9.5 x 9.5 inches

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La plaza. 2014 Inks on Tracing Paper. 27.5 x 22 inches

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Serie AquĂ­ pasa algo raro. 2014 Ink on Tracing Paper. 21 x 16 inches

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Serie AquĂ­ pasa algo raro. 2018 Mixed media on nylon. 47 x 30 inches

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Serie AquĂ­ pasa algo raro. 2018 Mixed media on nylon. 50 x 30 inches

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Serie AquĂ­ pasa algo raro. 2018 Mixed media on nylon. 40 x 30 inches

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Serie AquĂ­ pasa algo raro. 2018 Mixed media on nylon. 59 x 51 inches

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Biography Ernesto Gutiérrez Moya Havana, 1995

Painting graduate of the San Alejandro National Academy of Fine Arts (Gold Title). At the academy, participate in complementary workshops such as: photography, collage and painting. I worked as a professor of “Technique and Representation” and in other workshops at the San Alejandro Academy for two years.

Personal Exhibitions: - Spectrum Miami, USA.

- Endless Space, Vargas University. Miami, USA. - Espacios Incognitos, Carmelo González Gallery. Havana, Cuba.

Collective exhibitions: - Wynwood Juried Show, Curator’s Voice Art Projects. Miami, USA. - Zip, 12 Bienal de La Habana. Havana, Cuba.

- Zip, Artis 718 Gallery. Havana, Cuba.

- Zip, Fundación Ludwig. Havana, Cuba.

- Interludio, Fresa Y Chocolate Gallery. Havana, Cuba.

- Todo tiene remedio, FORDES Gallery. Havana, Cuba.

- Respaldados en esperanza, Fábrica de Arte Cubano (F.A.C.). Havana, Cuba.

- Martí y la Academia San Alejandro, FORDES Gallery. Havana, Cuba.

- Grupo somos lo que hay... 50 aniversario del Hotel Habana Libre. Havana, Cuba.

Publications: - CdeCuba Art Magazine No.23, No.24 and No.26.

- The Saatchi Gallery Magazine.

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La arquitectura y sus secretos Estela Ferrer Raveiro y atemporal de los espacios arquitectónicos; elementos que convirtieron al artista en un representante de la pintura metafísica y un antecedente del surrealismo.

Al interior de las dinámicas cambiantes del arte contemporáneo la pintura aún cosecha adeptos, sobre todo en la Mayor de las Antillas y entre los jóvenes creadores. En este camino, entre los desafíos que presenta el hacer pintura y paisaje en la actualidad se inserta la poética de Ernesto Gutiérrez Moya. En sus piezas, las sombras logradas a través de las rayas superpuestas hechas a plumilla, el color pensado, y la fluidez de los elementos convocan a una aventura visual, al disfrute del goce estético que se ofrece al espectador como resultado de los artilugios de su dibujo. Moya abraza las subversiones formales y compositivas en una estrategia arriesgada que persigue ofrecer un paisaje final desprovisto de ataduras, conformar un canal de formas donde nos adentramos en un mundo trazado a mano e hilado en su mente como fruto de su fértil creatividad.

Unir el dibujo a la pintura es uno de los propósitos de Moya. Se hace evidente, sobre todo, en el carácter dúctil y mínimal de sus soluciones formales, desprovistas de grandes recargamientos donde un horizonte se reduce a una línea y un conjunto de trazos realizados con pluma azul, las paredes se delimitan mediante rayas aplicadas con diferentes valores y la figura humana –casi siempre ausente– se convierte en pequeños puntos.

El elemento usado en cada caso: curvas, puntos, contrastes, son sólo los necesarios para dar corporeidad a un paisaje que se revela íntimo y con aires de lirismo. A ratos se hace cercana la referencia al dibujo animado, en la recreación de un espacio utópico. Confluyen en su trabajo dos elementos visuales importantes para dar organicidad a la composición: la expresividad de la línea y lo arquitectónico.

Si se aprecia su trabajo en conjunto, entonces, se hacen claras las influencias de creadores tales como: Philip Guston y Giorgio de Chirico. Del primero, la evolución hacia una pintura cercana a la historieta, muy evidente en la importancia que posee la línea en sus trabajos y de Chirico una concepción inusual de la arquitectura que pasa por el carácter extraño

Moya parte, a veces, de espacios reales y desde esa base estructura nuevos universos

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ficcionales, íntimos, producidos por su inquieta personalidad. Es en este punto donde lo abstracto se hace más evidente en su discurso. En el proceso de recepción, el que mira debe descubrir el puzzle planteado mediante los volúmenes, el quiebre de las líneas, las provocaciones del color y completar con su experiencia lo que observa porque el artista nunca va a revelar del todo su fuente de inspiración.

viejo horcón poseen un alto nivel connotativo.

Ernesto Gutiérrez Moya ha aceptado el reto: adentrarse en el complejo mundo de la pintura, y va poco a poco sorteando sus entuertos. Sus Estudios muestran precisamente esa búsqueda, indagaciones que lo conducen a materiales como el acrílico y los plumones, estos últimos tan frecuentes en los cómics. Se decanta Moya, entonces, por dos cauces temáticos: lo orgánico y mutable, y la infinitud de los espacios utópicos.

Entre ambos caminos toman sentido y aliento sus creaciones que sin dudas constituyen una verdadera aventura plástica.

Son espacios incógnitos como planteara Michel Pérez –en palabras previas– donde el cielo puede ser lateral o la sombra usurpar el lugar de la luz como se aprecia en la serie Aquí pasa algo raro. Transforma el artista el orden natural de los elementos, la sucesión verdadera de los fenómenos y al adulterar el canon, se aproxima a una sensibilidad distinta de la re-presentación de lo vivo y su ciclo vital. Es interesante apreciar cómo el creador se las ingenia para que todas las acciones que ocurren en las piezas sucedan al unísono. Esta simultaneidad evidencia cómo se produce una alteración del tiempo lineal, cómo fabrica para este universo otras dinámicas.

La arquitectura es representada desde encuadres cerrados, como si tomara un lente 50 y saliera a caminar por la calle reduciendo con el objetivo cada pedazo de realidad. La lluvia sobre las superficies cual espejo, expresión de movimiento o espacio es frecuente en sus escenas y siempre el fondo queda en segundo lugar. El imperio de los volúmenes absorbe el protagonismo. El color se aplica en favor de propiciar los contrastes, de comunicar la sensación de fluidez, calor, vida. Supongo que podría decirse que Ernesto es uno de esos artistas extraños, esos emigrantes –y no me refiero al viaje físico ya que reside actualmente en Estados Unidos– que conciben un universo para sí mismos dentro o fuera del caos citadino, un espacio de complacencia, sin grandilocuencias, para intentar descifrar el más profundo de los enigmas humanos: la creación y los misterios que entraña su belleza.

Dentro de esa utopía que va y viene, descansa o se impone en múltiples poéticas contemporáneas, encuentra el artífice regocijo, libertad creativa y una fruición inmensa, manifestada en sus elecciones de la gama cromática. No es la suya una desobediencia a capricho de los códigos realistas, más bien es la urgencia por narrar desde un lenguaje más fresco e informal los paisajes oníricos producidos por su mente donde un salto de agua, un conjunto de columnas y un

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Ernesto Gutiérrez Moya SELECTED WORKS