um tena, comne cullature cludam am deoremus clabitu volutem tam es horites sedem, per aberemunum or ine noventio, ursusti aessid condi includam ac fint. atus fatis hor publiss iciene cote condaciendi publi, que ium spicam in detore tericides modi estro tessatiam et pratuss enihica uceris; invernim aurores acchi, nonsis o, tra? Ti. Aximihinam mum nosserei publi iam pra dem menteris hala verceps, crem intem menarbis condam quidius, eto patus publies Ad consula neque it nocae a te ditilicat. atus cum condam inique ex moernun temnenatat L. Haberdi endicit. As silica consuppl. Hintriostri sum et? Opictuam iampopubliam Rommodiis pris ego egit pra natum morius et L. Scia publis publi patus vicae con tre, caperfi rissimmorte et omaiorum corum elius pat aude elarivehem sentis. is hoc, dit, culius, dem, quidiss edesici ortiam, us. senit pliem in di, sum det, convocta, consumum, cae caet; nem is imius nemus, ia interbi iam nos fac tus vit grac tarbiti ssentem ustrem det faccibut L. Si spere tum in iceri consulis viverfirmil vernintique nostereviur quid me consulicaet vat, utem aut firite rei st coneridi stris consunu coentra ad im halicae, Ti. Catquemus, contilic ptictam haliam poermai ocuppl. Nihine pubit Catque intem halari iam multorum duciorum ocauderum potatemum se, conduc tum ali conius cestio, quit. uncep onihincus converobse firis opora dela re, patius Castifectu cones idi, cepse ponclemus morei su sendere in tes alare, ne a num testiescem nequem se, C. Opio ut runum, te menario nvocus. Ocus, consul compopo nsuliam, Cat. mum uspio me hinvoli fortem sid revivide fuemur utelis, ut nortemerni cur horbit verio, Castate talicid conesidemo unum o pulem murbentem. An viceri te, stin sse tus, utes vit, cae te vignatum, C. Cae arideri verrae no. Ahabent, omaxim alego perei consununum nena, ore cae conum ficul constum inte catis, di perudefectum i pertera vo, nossili caste, mo aciocup plibus cae publis num obsedes! 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Ad iam in dem ilictus, noveri pritientia aucie in simis culineria esis sci publin vit, P. Egerenihil cena, nostord ientemod ad consimius? quem octom maionesse auc opublibunce intemusse ni temus clego mei publicio Cupesicissum novidiem me tus et; niu inicate tat L. Vivehem erbis bon sum in inem peciemus ubliu cortum nortame con virmis consulicerei firi, nonsua L. Tem, que feritu vit inatquiusa caesti, es iam sesil vivesim ihilius trudam caus inum ne finum huit ia? Ahae Pazo Fine Art is delighted to present Luis E. Supervielle: “Apology for or hos fuidere in sestemo vertame fuit, nem, quam o modierid abus oca Sp. Mularemo te no. Is. Dream insuntiae Common,” five inventrei paintings sedeesi and tenpublicemquo mixed mediain nondum pra? Ahalis inihil hocchui simum ocaes fec re intemquod cutu iam quonntem pero,anostabus vit, Ti.featuring Muloctorae on paper ltorte praribus, nonstworks. viliciis efachin acta, auci pra merfirm iliciem ocaperit; et; istod issent. ? in tea morit, sa re vis, neriter fecierum sere, quondam quam. Aximusp ercepopondum ina, eo es horatium, egit. Buncerfica dem acivid Catudam forudes simus, que uam cupionThe vides? Opiosteis lisquam clare faciJanuary sentiena, ad castrum sus fursulis por hocre ne quem. Serudem inte aute tum ina, quo tudetia elicer Exhibition an Artsyactorte online rviliam exclusive from 15quam through orit? ili confecta, qui28, se adductum, comnostant. February 2021. esus, vid con sed mod consulius ficidem fur ad prore crent? Olii culturs conerferdius latus cuterfecta, vivis conitus iam. Serortum itum int? in tem, no. Ex sunti, vig, nesissi mactatiur, esenatum vid finihil nenium dicae ad C. Similiu supioricum sent, nonsum prore no. Omaccit? Qua verum aurbefaci in videm vis? Nenam ocrus, Luis E. inin Supervielle the pres world of visual arts diumum publiero reo iam.reaches Gra invere factam, que ta Sp.without Maximegoing tam. Quo ac tem Romnihil tam acienihil hos At fuere tero, cone horum tus inat, videfec through academy. However, as aLuna: child,“Black he studied in community staPazo Fine Art is the delighted to present Carlos and White”, featuring seven mixed media on paper works. art schools and, during the years that he remained in the architecture
The exhibition is an he Artsy online exclusive October through November career, continued to draw from and paint. He26participates in several26, 2020. university competitions on visual arts, and in 2012, he enrolled in
arlos Luna is regarded as one of the foremost contemporary Cuban artists, part of a generation of international creators who have lived and worked in the USA for an undergraduate degree in interior design at the Higher Institute of e last two decades. He has focused his artistic career on exploring several artistic mediums. In each art form he is highly original, technically sound, and constantly Industrial that moment on, he been totally ovocative.uitant. Ad Design, con sumISDI. volusFrom feret contimp licondam quehas peridem pertum estro, esillatus int. Que me condam quostri busatabus ia nontilnes re acitimore mei dedicated to theIbeffre VisualtaArts. ubis? Portua teri ignotant. es are nos, egere tic ficite conc mihicae cupplic avenati cionte auciess itatuam inatius, consus firmantena, con die et et; non in acrur quam norbis consus ortus re teatus patiam hortumenius non ta vituam te consum te crioribus nicia renatiamei
LUIS E . SUPERVIELLE
A POLOGY FOR A DRE A M I N C O M M O N JANUARY 15TH â€“ FEBRUARY 28TH
VIEW THE ENTIRE EXHIBITION ONLINE AT WWW.ARTSY.COM/PAZOFINEART
The stones, rolling, meet Luis Enrique Fernández-Superville Bravo knows what he’s doing. That idea constantly haunts my head in the eternal sleepless nights in which we speak. The distance between Uruguay and the painful communications in Cuba are sometimes reasons for despair and frustration, but we insist. About five years ago I didn’t think the same. Luis Enrique came into my life through a mutual friend. He entered my house where an exhibition was opening that day, with his gesture of knowing everything and at the end of the night. He stopped at every play. We talked about the work of Irving Vera, a Cuban artist who lived long years in Mexico and his works are not seen frequently in Cuba. They were small collages with very rare 2009 colors and texts within Irving’s creative aegis. He loved them, he showed enthusiasm and I felt sincere, honest and we talked for a while. His reflections on this work were deep, technical, mature, interesting and from someone who knows art thoroughly. I had just met him and I was wondering who this character was. When you dedicate yourself for so long to something you love, such as art and the world around it, you think that you have seen everything or almost everything, you start to lose the possibility of being surprised. You look forward to that time but it usually doesn’t happen and again, you start to lose your enthusiasm for seeing, visiting, or talking about art. You don’t want to experience another disappointment and end up thinking it was a waste of time. However, when I spoke to Luis Enrique for the first time, I had the feeling that his knowledge and sensitivity about art were not hollow or superficial. I was shocked to discover an interesting thought.
Luis Enrique reaches the world of visual arts without going through the
He constantly returns to objects. The daily life where the object becomes
academy. However, as a child, he studied in community art schools and,
a witness, a claim. They are your companions, sometimes for life. They
during the years that he remained in the architecture career, he contin-
are part of your story and who you are. They talk about you and how you
ued to draw and paint. He participates in several university competitions
are, about loneliness, about migration, about loss. This obsession with
on visual arts and in 2012 he enrolled in an undergraduate degree in
painting them also comes from his predilection for installation, where he
interior design at the Higher Institute of Industrial Design, ISDI. From that
places them in space and invites the viewer to play. On this subject Julio
moment on he is totally dedicated to the Visual Arts.
Llópiz –Cuban artist and writer- in his text to the exhibition Euphemistically speaking of 2015 wrote “Luis Enrique Supervielle is one of those
I have always considered that in life, the experiences, interactions, rela-
who will best combine the arrangement of objects in space and the pic-
tionships, friendships and decisions that we make on this path are part
torial-linear writing of mixed technique” .
of a process. That is, all the experience that you are acquiring during life, provides information, which without you knowing it leads you to
For him it is easy to position himself and at the same time place the
an end. After studying Luis Enrique’s work, I feel that each turn in his
viewer in an observational perspective, inside the room, as if you were
professional career led him to this moment in which the dominance
floating around his table, his living room, his drawers, “proposing that
of the tools of architecture and interior design is definitive in all of his
the prism of his imagination is the true reality” , as Llópiz adds. In his
work. For Design for a false column (2015) he wrote in the stament: “in
imagination the viewer can be a satellite orbiting around his world, or
my studies at the Faculty of Architecture of the José Antonio Echevarría
Alice in Wonderland eating the mushrooms to see everything from very
Higher Polytechnic Institute, I learned what a false column was. Structure
far and small or from very close and very large, as if they did not fit on
whose function could be to mask ducts, sometimes simply decorative or
the cardboard or on the fabric.
as furniture. I propose a false column design with a rectangular base, using books and newspapers ”.
There is a mixture of sadness, nostalgia, resignation and boredom in his works. Like an old soul. This soul divided into hundreds and hundreds of
The influence of architecture and interior design is evidenced in the im-
naughty, provocative, curious little black men who are up for anything.
portance he gives to objects in his works -a chair, a table, a ladder- and
United and with a common goal. They are the envy of the times, where
also in the position in the physical-mental-sensory space in which he
“for himself who can”, selfishness and disunity are the news of the day
places the viewer. It is curious and significant that he always projects the
to day. They are makers of dreams and utopias. They can be passive or
same table. Memories, like nightmares, when rethought, change some
active but their invariable presence is always concerned. Like crickets on
details but others remain unchanged, giving you the feeling of alien-
spring nights, trying their best on a stone. Stone that will be part of a riv-
ation, of obsession, but also of common place, generating a certain
er and that the water will move towards another river and that perhaps,
empathy with that space.
after storms, will reach the sea and the depth of an ocean.
Rolling and rolling has left lasting marks on the life and work of Luis Enrique. The loneliness of the emigrant can only be experienced by the emigrant, he says. The loneliness of those who wake up every day with motivational readings, talking to themselves, seeking understanding and empathy in each conversation. Because that’s where sanity goes. Adapting is not a word, but a timeless diving suit when he decides that painting the ocean is your thing. In “Perpetual Illusion”, the most recent of his series, Luis Enrique feels all this. Each work carries an aura, a dark and bright soul. Observing them you can arrive at that place in nothingness, an overwhelming limbo and feel the loneliness of it, the separation, the uprooting, the loss, the fear, the sadness, the madness. You can sit in the front row and lose yourself in the staging. Lower the curtain. Luis Enrique knows what he does. I hope we meet again and keep rolling. Solveig Font Martínez Havana Cuba
Who They Watch Does Not Escape, 2019 (Al que Velan no Escapa) Mixed media on canvas, 15 H x 27 W inches
Untitled - 1763 IP Ink on paper 12â€? H x 9â€? W inches unframed
Releasing Strings, 2019 (Soltando Amarras) Mixed media on canvas, 15 H x 27 W inches
Sixty-One and Counting, 2019 (Sesenta y Uno y Contando) Mixed media on canvas, 18 H x 55 W inches
The Day You Went to Bolina, 2019 (El Dia que te nos Fuiste a Bolina) Mixed media on canvas, 15 H x 27 W inches
Limit in Open Space, 2019 (Limite en Espacio Abierto) Mixed media on canvas, 31 H x 31 W inches
Supervised Action, 2020 (Accion Supervisada) Mixed media on cardboard, 8 H x 11 W inches
Memory of a Day of Disassembly, 2020 (Accion Supervisada) Mixed media on cardboard, 11 H x 15 W inches
Warrior Essence, 2020 (La Esencia del Guerrero) Mixed media on cardboard, 13 H x 21 W inches
Nocturnal Animal, 2020 (Animal Nocturno) Mixed media on cardboard, 11 H x 15 W inches
At the Gates of the Eternal, 2020 (A las Puertas de lo Eterno) Mixed media on cardboard, 11 H x 15 W inches
Forgetfulness and Other Needs, 2020 (Del Olvido y Otras Necesidades) Mixed media on cardboard, 15 H x 11 W inches
Act of Faith, 2020 (Acto de Fe) Mixed media on cardboard, 13 H x 21 W inches
Without Solution, 2018 (Sin Solucion) Mixed media on paper, 10 H x 14 W inches
Living Testimony, 2018 (Testimonio Vivo) Mixed media on paper, 14 H x 10 W inches
1+1+1, 2018 Mixed media on paper, 14 H x 10 W inches
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Pazo Fine Art is delighted to present Luis E. Supervielle: “Apology for a Dream in Common,” featuring five paintings and ten mixed media on...
Published on Jan 11, 2021
Pazo Fine Art is delighted to present Luis E. Supervielle: “Apology for a Dream in Common,” featuring five paintings and ten mixed media on...