- back -


by Jorge Taverna Irygoyen

About the Artist and His Work

The show exhibited in eight halls of the "Museo Provincial de Bellas Artes Rosa Galisteo de Rodriquez," containing 75 works by artist Hector Giuffre, it deserves to be visited. Because aside from his high merits and the enormous power of expressive communication which transcend the exhibited works, it is useful to bury that many times repeated statement of "everything is already said," and that formulas only repeat themselves.

Hector Giuffre is not only a personal painter, because over his undeniable originality of vision, he prints a very personal stamp to the act of conception itself, working from inside and outside the work, flooring a double dialogue as the one who realizes and visualizes it. That this is impossible and does not result only from his ingenious word play? Well then, the reader should go see the show and he will agree with me. Because in this case, the artist does not go around with halves, even though these are chromatic. If he has to say something, he will say it in a loud voice, not just whispering, it's obvious, but with the shades and the necessary inflection to a specific subject -which obviously -- will have to be pushed by his own focus and thanks to his own aesthetic need.

What does Giuffre search for with this painting where the rational goes sensorializing very subtly in the encounter with the forms?

What sense do his portraits of a great psychological density as magnetic have?

Where do those still natures or compositions of interiors in which objects -- without figuring themselves as in so many pretended vanguard paintings -- acquire a new animated logic, take us? Which is the path he follows to build a landscape fantastically possible or erect presage in the fortress of a shadow? The truth as a goal. Not the illusory mirrors of so many over-night "isms," nor the stereotype of worn out formulas. This artist evidently and without hyperboles searches the truth.

That is why he returns to human figure: receptor and transmitter of all sensations and feelings, that is why he searches in nature the possible recreations to his conceptive vision, joining links of an unbelievable chain of associations of ideas, of formal ruptures, of metaphoric connections. That's why he harmonizes the dramatic and the sensorial, trying to find, in the end, an answer in the aesthetic ground, satisfies his temporal questionings.

This magnificent show which Santa Fé residents have the chance to evaluate, and which the exhibitor entitled "Before and Now," by considering that it is not specifically a retrospective (although it represents more than eight years of work) reveals the expressive potential of one of the fundamental values of Argentine painting of the generation of the 70s. There is an amazing dialogue between the represented object and who represents it, along several of the exhibited paintings. It is not only the ingenious "trompe l'oeil" or actualization of that curious accent in the mirror like in "Las Meninas" by Velazquez; it is about that and much more. About a transcendent mystery which makes the atmosphere of the determined chromatic plane, to "take it" off the nail where it's at. And as Giuffré's is not a technique or an Hyper-Realist intention (as it is wrongly considered) the sensation does not end in the simple visualization of the represented, but it opens many other possibilities in the observer's interpretation.

What's inside and what's outside play a constant mutual phrasing in Giuffré's work. It is an illusory phrasing, but -- by the paradoxical power of the painting -- a material reality. From here on, to consider that reality "in another way," is only one step and the rest ( ... )

Santa Fé, Argentina
Newspaper "El Litoral"
November 18, 1983