El contenido de esta página requiere una versión más reciente de Adobe Flash Player.

Obtener Adobe Flash Player

Marianne De Tolentino

President of the Dominican Association of Art Critics (AICA)
From the catalog presentation for "Textura del Tiempo. Fábula", Santo Domingo, 1995

Carlos Kravetz, unquiet researcher, never satisfied, also melts the sign and the symbol. His work is definitively engaged. He takes landscapes, organs, monuments, not just as representation -the representational aspect exists but it is of secondary importance- but as a mediatic image of ideas and beliefs. He expects that his message is transmitted and reach "the other", us, who look at and receive his "icons". The physical, mental, profane, sacred, own and universal spaces are identified. A deep anguish and the longing for peace co-exist and motivate each other the subjects and objects of painting. The biblical, hagiographic or Gnostic ingredient, is enunciated, - in Kravetz's work the religiosity is more total than specific - and is soon understood by the viewer, before the artist announces it in a passionate self-deciphering of his newest painting. Individual mythology attracts him less, or, to put it different, it is through his personal creation and the intense persecution of spirituality that we read a crystallization of antique and permanent myths, of sufferings -the heart can be literally torn- and of common redemptions. We won't find it surprising that his style relates to pre-renaissance and medieval times. Before reading Carlos Kravetz's we had already noted that relation. Some paintings evoke pages of manuscripts in its manufacture, its bi-dimensional character, its carefulness, its golden touch. It is not only a formal affinity, it goes beyond. Middle Ages were times of forced spirituality, of faith, of mystery, of symbiosis between nature and the supernatural. The artist then feel fascinated in front of that imagery... If he introduces local signs, modern and monumental, such the Obelisk of Buenos Aires, it is for structural and compositional reasons, but mainly for conceptual reasons. He turns that "symbol" of the argentine capital, so manipulated by the local art, into a co-participant, in its domestic, everyday character, of his ideas-ideals, of the sublimization to be re-found.

Works: PAINTING - TABLE DRAWINGS - DIGITAL GRAPHICS - INSTALLATIONS - FOTOGRAPHY

BIOGRAPHY - COLLECTIONS - AWARDS - PRESS - WORKSHOP - BONUS - E-MAIL

CARLOSKRAVETZ.COM.AR - Carlos Kravetz, Visual artist
© 2010 Its total or partial reproduction is forbidden.
Diseño y desarrollo de VERTIGO