(…) Moisés Finalé is an urban animal. He adores the noise, the people, the architecture and the parks. He loves the clatter of the water pump and the song of the sea waves, he adores the damned circumstance of water everywhere, he venerates the island and the faint light bulbs neighbors switch on while Bola de Nieve is heard from afar.
(…) Los silencios no existen (Silences Do Not Exist) was born one rainy afternoon in the Havana neighborhood of Vedado, where the artist has his studio.
(…)The successive works of an artist are like cities rising on the ruins of the former ones; although new, they materialize a given immortality guaranteed by old legends, similar passions, returning faces, underlying masks. I have always wondered how Moisés manages to return to those rundown cities and raise them up in a different way. And it is that some magic gives continuity to his work. Although he may spend some time overseas, in another studio, in another climate, with another language, he comes back and starts at the same point he had left. (…)
This latest series is probably a search of painters lying for years in his subconscious, a Raúl Milián with an oeuvre rich in the stain and trail of the inks, full of transparencies with that hidden light in the plot of the drawing, that wake as of rust which gives way to his figuration, the meticulous stroke plaiting the image on a background abstractionism, a perhaps invisible background suggesting, unavoidably, a fleeting face. (…)
