Looking for the signs to an identity for centuries permeated of sensationalism, Reynerio Tamayo builds beads for this island besieged in the belt of the Earth. His, away from pretentions, are common signs, most traveled zones, own rhetoric. The universe of meaning to which he alludes is the one of the imaginary vision of absolute truth, its contradictory contents, its paradoxes, and nonsense.
This narrator owns an eminently cultural idiolect in which the quotation to exact references of the historical framework of contemporary societies is deposited as a part of a carefully built metaphorical structure. The hilarious sense his artworks acquire is the result from conjugating in the same phrase unlikeliness and immediacy. For this reason, his artistic proposal works as a catalyst of supreme concerns.
From the fauces of a cartoonish drawing, of a sense of interpretation relatively close to cartoons and satire, Tamayo invokes common sense. His voice is an unusual flow of warm water in the middle of a hurtful glacier. His oeuvre, rather than an anthropological vocation has a strong human platform. So it will not be difficult to find in such areas the mention to cultural psychopathology affecting everyone, traumas that are universal because of their magnitude. His gesture is as accurate as immediate.
So he reminds us, in the spontaneity, pop art and its stark vision of the world. Tamayo has a figurative proposal that is sui generis within the artistic contemporary context and unpredictable due to its appearance in the most unusual areas of present times. After the unstoppable depletion of modern episteme and its elemental discourses, this creator surrenders to the lust of doxa as inaccurate strategy to understand the world and its interstices. Caustic and belligerent, scathing and clairvoyant, his voice is as serious as sincere.