New energies flow through these lands. New images equip them. There is an unstoppable clarity in this fountain that bleeds in the unnamable shadows of the mountain. It is the strength of centuries of spirituality which moves the hand and impels heart beatings in these confines. Everything reaches again the original pureness.
No glories, no kings, blood, or horizons; the road of spirituality rises among lianas and hills, silk-cotton trees, fire trees and palm trees. The air thickens as atmosphere, as sensations, as a vague shaking of emptiness. José Bedia knows that well, there are not words or fitting shapes for representing the telluric and elemental character of these imperceptible and eternal airs that surrounds us today.
His poetry represents a solid figurative proposal inserted in the line of neo-figuration that has configured the field of religiousness in Cuban art for more than eighty years. Engraving, drawing, sculpture, installation and even painting are means for recreation and tribute. He knows very well that inapprehensible things are inapprehensible. Therefore, he is not seeking to impress through the discovery of certain liturgical zones of the active religions of the Island, or the representation of their principal deities; he is not even interested in debating about the socio-cultural issues that go into their orbits.
José Bedia has taken the imaginary, fable-liked tale of popular culture with its visions, and he has taken away its possible extraordinary implications. He subdues it to the regularity of a non-transcendent discourse and in the simplicity of such resource he inserts the dignity inherent to these spiritual phenomena, without grandiloquence or indoctrinations, without oversaturation or emotive manipulations.
The sublime character of religiosity in José Bedia’s oeuvre does not lie in the mystical presence or its treatment, but in the traces left by religious thinking in the life of man. Thus, in the grounds of his artistic-symbolic universe, rather than being practices, rituals or liturgical entities, religiosity is an indicator of the imminence of culture in human social development.
The conceptualist syntax and the minimal procedure that articulates his artistic method evidence the presumption of religiosity as a rational and empirical thinking system. Its impulses are balanced as he gives them –after a deep abstraction processes–, an almost natural, organic order; an ascetical, purist and humble character. There is no doubt those are our signs nailed to the tremulous whisper of the wind that shakes the bends of that perversely hidden mount we all carry.