Reinaldo Cid’s artistic vision is decidedly slanted towards anthropological issues. That strategy is the selected path to talk about mankind. This indefatigable discursive desire reaches alarming degrees of expressiveness. Humanity is, for instants, physical. The representation is held in obvious levels of instrumental manipulation: in the chemical basis for the enabling reaction of the image underlies the fatal emphasis of his procedure. Sometimes he prints due to the use of elemental organic substances, simulating their symbolic abnormality and the detachment of those contents that are immanent to them. In some other cases, his poetry is resolved within the boundaries of the installation, in the appropriation and in the simulation. Either way his gesture seeks to generate intense glances over the object to be represented, to alter the perspective on its nature, to excite reflections, to take it out of its territory at the end. In the effort, his poetics strives in a sense divided between eschatology –understanding the definition of waste as related to the production of symbolic and cultural dimension– and archaeology.
Any way his images, the final result of such obsessions, display opacity and a disturbing chromatic saturation of such intensity that it seems that the alchemical vapors boiled in them. It is memory’s always inaccurate universe; the fatuous paroxysms, fantasy and unsuspected roughness. Thus he leads us to an absolute detachment and he inoculates in every icon the antithetical sign of a fatal attraction: a stationary stampede.
Therefore, blindness is concealed after so many tricks and then the concept of ruin appears. Sometimes he prints traces of eminent degradation on the surface of the photographs. Some other times he turns the reason for breakage, tearing and laceration into the central subject of his looks. There is an unsuspected allegorical will fixed to his oeuvre, an enormous act of creating monuments. Perhaps those are the handles of present times.