…and Not Die in the Att empt Edel Rodríguez in Havana
(…)Edel’s work is direct. His training in synthesis—inherited from editorial demands, the relentless closings of editions and the New York pace—does not allow him to beat about the bush or be wishy-washy. High, clear, efficient are the work rules of an author whose wide creation area has made him simultaneously develop in the cultural as well as in the political, economic and social fields. (…)
There is an intrinsic aggressiveness in Edel’s work, a sort of poetry of violence, modeled by the treatment of the environment in which the main characters, which avoid making the underlying tragedies obvious, are inserted.
(…) Es a palette of colors is recognizable in Edel. In it, together with red—the most significant in his work—, blue and yellow are the counterpart to achieve a sensorial balance. (…)Equally important is his aesthetics in the use of templates to create patterns and decorations, as well as of collages in the original paintings from which his definitive posters are made. (…)
In this world of great productions, where communication is invariably led to exploit the realistic and grandiloquent image of the superstars guaranteeing success, Edel plays with a double-edged sword when betting for the allegoric and absurd representations. Without renouncing to his style and visual aesthetics he remains loyal to himself, leaving “box office” problems in the hands of others. (…)
