Suffering the frolic of the leaves when the wind invites them, the shrouded sound of water capsuled in the limits of earth, the violent rustle of a bunch of tendons and the fragility of a slippery trunk, those are not common human experiences. Contemporaneity has imposed us quick, even violent rhythms. The human race, almost in unanimous convention, has scrapped the ability of lingering in the extensive rhythms of earth, and, it is worth remanding it, in their own. That is the topic that motivates Rafael Villares’s wit as a discourse.
We will find him drawing doors and windows in the bends of the sea; at the level of the wall from where all grieves depart. Or maybe, planting capricious injures in the streets and memories of Havana, sowing trees in the middle of the darkness, reestablishing the uninterrupted flow of light and life; watering doubts and sunsets. And that is not reason for us to call him romantic or tell him an apologist. Villares is a scientist of present times who finds satisfaction in challenging human knowledge, motivated by its current state.
The influences that hold him in his work are diluted in the ways of his own discourse. Povera art, conceptual art, simulation: the natural and spontaneous state that characterizes his analysis, as well as the emphatic magnitude of his artworks are symptoms of his own anxiety and an obvious commitment with the future. He uses the surprise of the encounter as springs, as well as the extraordinary and paradoxically spontaneous character of the motive, the symbolic and panoramic suitability of placement and the emotive implication of the audience to create an experience always transcendent.
He prefers appropriation: he takes over everything lacking a rightful owner and, ipso facto, he makes landscape aesthetical. We need to remember that is an abstract concept settled by western culture to frame the world’s imaginary quality. Remember –Villares says– that this no more than our perceptive predisposition that, as susceptible beings, makes us succumb before the visual or empiric attractiveness of the ordinary state of natural environment; that this is not the world, but ourselves, who are capable of suffering the slightest sound of life being evident in common things.