Agustín BejaranoRitos del Silencio CLVI, 2004
Charcoal on amate bark paper, 120 x 240 cm.
[…] Although I am sure that in not more than a couple of years from now we will be talking of Los ritos del silencio as part of Bejarano’s pre-history, at this minute it would seem the top point of the Bejarano battle. It is such a vast and plentiful series, so well solved from the point of view of painting, of such mature inner serenity that it will most improbably be exceeded by works to come. Indeed, Agustín Bejarano has now jumped into an irrecoverable abyss: such a degree of plastic density, of conceptual adjustment, of artistic worth that is truly frightening […].
[…] 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.