Well known by the amateurs that assisted the last Biennial of Art in Medellin, Hector Giuffré comes back now to go deeper in his message to us.
Acclaimed by the international critics that met in that event, this painter has also settled precedents with his eloquence in his participation at the critics of art encounter.
Hector Giuffré is not the artist who assumes his craftsmanship easily. He is before anything a philosopher. But he leaves philosophy in its most abstract form as this one gets away from reality and only reaches at the most two ideal concepts.
"Thinking is better outlined in painting. That is where the problems can come up!." There lays the secret of his painting. What apparently seems to be a simple expression becomes more complex if the concept is deepened.
When we get closer to the work of Giuffré, we must re-plot our knowledge. The world we see everyday turns questionable.
Here lays the artist's own: he makes evident in his painting what others try to obtain by different means without managing it, because of not knowing all the dialectic game in the phenomenological world.
Giuffré's aesthetic gets close in many occasions to the classic, not in the sense of exalting human beauty or nature's beauty, but in the sense that the apparent is replotted.
With this aesthetic conception, the artist reaches the essence. It is there where he wishes to unveil that which has covered each one's circulating world.
Like for Rembrandt, the best model is himself; and such as the philosophers and like those who have scrutinized the problem of the being, Giuffre does it in each one of his works.
The light and dark by Caravaggio, and used in a unique way by Rembrandt, is proposed again. This duality achieved with half tones gives us the exact composition and at the same time double in a metaphor by which Giuffré has become known internationally in the world of arts.