Moisés FinaléLa salida (Diptych), 2016
Mixed media on canvas, 231 x 556 cm.
This picture is one of the many canvasses that Finalé painted for the acclaimed exhibit Levitación (Levitation) presented at the gallery hall Orígenes of Gran Teatro de La Habana (Grand Theater of Havana) in the autumn of 2016.
[…] And the fact is that this new Moses leads to an unknown promised land, to a legion of dancing divinities that –in endless parade– carry offerings, throw banners… gods of an Olympus found by Alejo Carpentier in the exuberant islands of the Caribbean and by Wifredo Lam in the invisible character of the chair or in the feverish green of the jungle.
Led by his dream and without intending it, the artist glimpsed the road, his own, leaving us his face at times –drawn or sculpted–; muting his Helenic features by the one of these dark priests and celebrants, as old as history itself. However, they are symbols of an unfinished modernity in the Art Déco designs, in their iridescent bronzes or in the jewels that the Paris or Broadway dancers showed in their voluptuous bodies in times of Cléo de Meróde, Emilienne D’Alençon or the Belle Otero.
The truth is that the Maestro grew in grace and wisdom. And, as a memory of his transit –in his painting– he leaves us a portrait of his soul and of refinement of an art expression in which novelty, tradition, beauty and elegance, exquisiteness of the stroke and of the inspiration that motivates it come together, in silent harmony. 1
1. Eusebio Leal Spengler, Herido de sombras (Catalogue, Havana: National Fine Arts Museum, 2003).