Seduction of the Irrevocable
By Ricardo Alberto Pérez
Noel Morera, Matanzas 1962, seems to feel things too big, objects and beings multiply their size several times before he can take them out to inhabit his pieces. While he paints, draws or prints what was already dilated in the idea to be executed, ends up establishing itself in a very striking disproportion. The most moving thing when I put myself in the plane of spectator is that such disproportion undermines the concept and the workmanship in the same proportion, delivering images that by their lack of some kind of moralism, seem to come from a higher stage.
Everything indicates that he is an artist who represents the nature of the indomitable, hence his expressive quality behaves in different media (painting, drawing, engraving, ceramics and others) equally, confirming the ability to mutate without decay from one language to another. His presence has the aroma of contempt, a seal that in the creative processes reinforces and intensifies the will to transcend. Thus he is immersed in the cycles of the unfathomable, manipulating a crank that is very familiar to his mind.
Noel’s work throws itself into reinterpreting the environment, convinced, above all, that “art is a language that speaks for itself” and that the most important thing is to know well the conditions of the context where you are creating, so that your strategy of resistance is effective, and the creation is not absorbed or vulgarized by the rigor of the circumstances, which in this case turn out to be very oppressive. The grace of the singular places his work in an enduring fringe where the ironic wink is repeated over and over again.
Here, the images that finally lend themselves to be transformed into art, have been captured with a very selective and conscious tact, from that daily torrent from which we are bombarded. The senses, awake, take them to the support that will correspond to each one, and then the confrontation that will say the last word takes place.
In Noel the reaction in the aesthetic sense is also high and consistent, especially because beforehand there has been a permanent dialogue, where the artist is drilled by questions that make him act in a very creative way, then the works can be interpreted as answers capable of commenting with lucidity the phenomenon of accumulation.
Specifically, Noel Morera’s painting is often intensified by surreal interventions, capable of dealing with the everyday from an abrasive irony. In each of the protagonists of his paintings there is a prolongation or extension that ends up splitting the work into two contemplative planes. Above all, it is imposed from the formal as an irrefutable slap in the face of the ballast of the egalitarian, here one freedom leads to the other freedom.
It is also noticeable that he makes the most of the effect of everything that is sudden and unexpected, stretching the imagination of the spectators: opening his hands before the mouth of the unknown, to see what can fall into them and once in the position of the finding, to represent it from the violence of his own speed.
In his work, the expressive force of the drawing also plays a leading role, making the message warmer and more personalized, as if his will to express himself were more spontaneous than in other media. Sometimes his own characters give the sensation of seeming surprised with what has happened to their bodies and the transformations that in a kind of delirium he decided to give them.
In its territories germinate the anti-myths, or simply the myths remain under an unappealable strangulation that favors the speculative and open character of the image. People and things leave through the spaces a totally hallucinating projection, among other aspects, recovering and reanimating the ideographic multiplicity of the shadows. In short, diversity is an obsession that strengthens and defines the organicity on which mushrooms can also grow.
