Agustín BejaranoLos ritos del silencio CCCI, 2006
Acrylic and kaolin on canvas, 80 x 65 cm.
[…] Finally, I believe that Agustín Bejarano’s artistic mastery has produced for him, as greatest finding, neither a technical solution nor an aesthetic boasting of the latest minute, but such knowledge of the world that makes his work an emotional encyclopaedia of contemporariness. Bejarano has two organic virtues: a prodigious hand and a frowning, penetrating glance that seeks to understand the world’s behavior. I do not think that it has been the first of these elements –as it has been pretended– what has placed him where he is today. It is the second element, the thirst of understanding he cannot renounce to, what has launched him to the height of contemporary Cuban art, that difficult architecture, hard and fragile like glass. Sitting there, he contemplates the abyss taking form under his feet, and then the dangerous one, he who did not abandon the risk for one second, whether on top of the most savage skyscraper or shipwrecked on that rock that no one remembers anymore, has only to put his hat on.1
1. Rufo Caballero, “Interpreting Bejarano, The iconography of his poetics, from a three-sided system: the cosmos, the island and man,” in Agustín Bejarano, Obras 1987 – 2000 (Havana: Artecubano Ediciones, 2006), 154.