Agustín Bejarano

[…] One of the most representative elements of the visual worldview that has developed Bejarano is the difference of scale that exists in his works between the man and the landscape in which this is represented. The human figure is often just a detail, a small footprint on the world of nature. Still, all anonymous people enjoy a great character, a personality. The artist gives them a gesture and intention very accurate. In that aspect Bejarano is revealed as a virtuoso miniaturist. The little men demand to be perceived with care, we make a visual immersion in the smallest detail to fully enjoy the pictorial expression that is contained in these figures that are as spot color, or small shadows (although outlined in its details) within a compositional space in which the landscape is expanding like a universe.

Moreover, Bejarano achieved what few painters have: to connote silence with visual language. Faced with these desert landscapes, where human presence is barely a trace, we experience a sense of loneliness, of standing pat, of anxiety about physical immensity of nature, but also a resounding silence. Bejarano gets its visual atmospheres do we experience an eerie silence, a silence which connotes better than any figurative element, the muteness of man before the forces that transcend […]. ¹