Moisés Finalé is an insolent that crosses with the air of a conqueror the ritual and miraculous history of mankind, impregnating a mystic new order in it, closer to eroticism, to perverseness, even to sexuality. Parting from this reason, he comes to the construction of the unusual body of a powerful and attractive figurative proposal in visual terms, which is lewd and sensory, stark, fierce, magnificent. He borrows from religious iconography and, above all, from the techniques used to represent their stories: mural, stained glass and painting. His are impure ordinations of the great human story of the possession and control of the Earth. His are uncomfortable quagmires, trans-visions, lucidity.
The human morality becomes compromised in this attitude of shock as a basic principle of culture and the sinful nature of man is exposed. And yet his intentions are far from the humanization of the sacred things. Even his speech avoids being twisted, perverse, pitiful, or too explicit. It only surrenders to the subtle friction of bodies, to the breaking by the desire of the oppressive borders settled by what it is properly cultural; to the simulation of a slip between presumptuous and refined poses; to the presumption of a slight caress. Not even the carnality is entirely clear in these ritual dances of jerky movements.
A magnificent monumentality reins in those interior spaces recreated by Finalé. Tentative foreshortenings, sturdy columns, legs of firm elasticity, and a light interplay of transparencies in which what has been so carefully covered shines exposed. That is an always prodigious imagery in which the candor of a kiss or the touches of one moist crust against another replaces the usual figure of pain and martyrdom for that of pleasure. His are philosophical ramblings that raze light-heartedly the artful story of sighs and ecstasy.