Reinaldo Cid is a hardworking and experimental artist as just a few. His pieces, installations, and photographs are the result of intense meditations, but also, and essentially, of a vertiginous diligence. When witnessing his work, we are in the presence of process being a concretion of imagination, being a natural source of a concept that is later transmuted in art. With these features, it is not weird, but on the contrary, it is logical that his symbolic production –despite his early age– inserts itself with natural right and strength within the artistic panorama of the country. He knows very well where to find the fundament of an image, the hard core of a concept, and that is the essence of the expressiveness of his works, his intense sign charge. Hence, idea and production are conjugated to deliver the expected fruit; the artist conceives the image with all domain of what he does, he channels his imagination, subjects it to the process of forge, to the maturation of the procedure.
Combining, in a photographic essay, bells (a historical symbol) with blood (the matter that makes each piece unique), and entitling it Feromonas (Pheromones) (the symbol of communication) is a proof of what I am stating. It is about “bells charged with blood,” bells as receptacles of ideology, concept reached by means of the experimentation of the artist. Reinaldo Cid bets for a ritual in which the regime of visuality tells us about centuries of homeland history and, to reach that point, the chosen strategy has been to process, combine, and make signs copulate. The result is a rigorous research that belongs simultaneously to the fields of historiography and iconicity. Constructing meaning, deconstructing them, inventing a particular representation of signs, this is what the artist proposes, and he obtains it.