Moisés Finalé

[…] Science is the most fruitful of freedoms; the rigor, the one of art itself in its conversion of the precise into the vague or ambiguous, of the concrete into the multiple, of the demonstrable into the inferable, of the exact into the emotional.

It is for that reason that Moisés Finalé’s painting may seem a tenacious reverence to western culture, which however simulates the transparency and the wise primitivism of naïf art. While in other artists that operation results in decadent cynicism or deplorable exoticism, in Moisés it attains monumental visual dimension and aesthetic experience, not only because of the magnitude of the formats.

There are no additional accents or turns of manipulation that superimpose too many senses: it is as if the painting surface would turn more dense a serious process of personal observation that wants to exist only in art, beyond the intellectual sensationalism that seduce some artists to whom achievement supposes the whole of creation.

In Finalé the whole lies in creation itself, perhaps in the vibrations of its sources, but hardly in the knowledge that may derive from them or in the hopes of philosophical lucubration that are usually added to it. ¹

1. Rufo Caballero, “Corazón partido, Moisés intercultural,” Doble realidad, (Catalogue, Havana: Galería Museo del Ron, 2004).