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by Ana Maria Escallón
    Yesterday were inaugurated two individual presentations at the "M.A.M. of Bogota." We are talking about works of two painters who are united only by friendship. Giuffré, who paints reality and its loneliness, and Noé who interprets the libertary world. There are two proposals, two pictorial languages that have reached their artistic development.

Hector Giuffré insists on reality as a base, where person, painter, real space and painting space count. The light as a whole as well as the possibility of a cast shadow that projects other presence and shapes. It is so important that those are all the elements and anything else. It is figuration what keeps the expectation of new alternatives. Its colors are intentionally dull and interact with definite shapes, outlined by the sharpness of a severe eye sight. That is not satisfied with representation, because each human being, as well as each plant or each thing, has their story to tell.

The human figure develops in arbitrary spaces that allow absence and presence, but where marking distances is what counts, as well as representing the moods and loneliness that are always present.

The shape goes further than the appearances, but it stops at the nostalgic. In his nudes, Giuffré interprets the human body as an element that symbolizes a mental state. The emotions are manifest. The sitting person abandons his body and that body, which is somehow forgotten by the world, its vital energy escapes it, and everything belongs to the internal necessity of postponing the action. That is why his world is static, motionless.

The self-portraits are constants that also reassure the possibility of other spaces and the creation of other tensions. Usually the artist feels the need to get into his pictoric world, to symbolize his only action and to mark the distance. In self-portrait, the shadow, the hand that paints, the brush that paints, appears arbitrarily in the paintings. In that way Giuffre leaves the print of his vision of reality that allows him to simultaneously project himself and restrain himself from his reality.

Newspaper "El Espectador" / Editorial,
Bogotá, Colombia, March 17, 1989