The biggest hall in the Museum of Modern Art of Paris in which the last biennial took place was reserved for the Latin American painters. Among them, Hector Giuffré occupied a space which seemed to multiply itself, in the sense that this intrepid creator, voluntary questioner of exterior realities, and on the other hand conscious of the invisible face of things, was coming forward surrounded by living presence. Whichever subjects he tackles: beloved or familiar figure, anonymous or personalized (this is his favorite) portrait, they are always chosen within an action, a context or a decoration where everything is finally treated as objectively as possible, but brings on, the author-artist, something like a moment, a piece of himself.
There is not in him, therefore, any monotony, any uniformity in this series of individualities which find joy in his way of being. Each figure is treated, within its complex truth, in their becoming, and I wish that this book would allow people to realize this, and that it will reveal to us the way in which the artist works.
The texts belong to Rafael Squirru, Raul Santana and Bandin Ron, who have accustomed with fair precision us to understand the voice itself of who is talking to us, and of who comments on it.
Of each portrait, they reveal to us the preliminary drawing and several sketches, in general pastel or watercolor, blends, water colored. Works, which bring us uniquely to the chosen subject, make it inside clear and turn it familiar, fraternal.
One could produce an exhibition where each portrait would be then accompanied by the preparatory work, which prolong them and sometimes take advantage of them. But which are really within him, locked up and in front of us ready to talk, to answer, to free himself.
Yes, this preparation for life, this flowing of possibilities, all this is in the picture. And it is from them that he obtains his existence.
The painter can now take part to conclude, cut, and decide, given that the decision is the biggest virtue reserved for the painting. Giuffré proves this with a strength which does not exclude roughness, but where sincerity and loyalty make us understand better what he assures. He builds this way a gallery with all those who come close to him or with those he separates from his problematic.
I think few artists have the same sense about human contact, with the need that this brings to surpass the appearances and burn the conventions on which everyone tries to hide him or herself.