The Illusory Fragility of the Sentimental Country

/ 1 December, 2015

The recreation of the sand bodies in large scale by Liset Castillo marks the second time in my most recent novel and refers to the sign of insularity many of us carry as a second skin. The indestructible connection between nature and representation may be clearly seen in her work and it is on this reflection that I recreate the unconscious action of the protagonist in her indissoluble relationship with the sea. Ena Lucía Portela’s Cien botellas en una pared (A Hundred Bottles on a Wall) and Fugas (Escapes) by William Navarrete, recreate this impeccable system of apparent strength to subtlety open the topics transferring us, the trips communicating us, the childhood materials with which we manufactured our elements of representative deliriums. Both volumes reach the discovery of a self-phagocytic territory which usually talks in a low voice and with itself, thus graphically and conceptually sustaining the philology of an approach.

(…)Liset Castillo invests in her discourse the hours of an observation from absence.

The same susceptible beach in which on 1941 Gastón Baquero wrote his Palabras escritas en la arena por un inocente (Words Written on the Sand by an Innocent) is the element or resource the artist articulates with a monumental minimalism, rebuilding castles impossible to grasp, but that may be rescued by photographic eternity. In the sensual dampness of these territories with fragile courses, full of anxiety and desire, mutant spaces that may disappear at the contact with the eyes, she expresses herself. She makes bags of sand, perfect purses made of salt and foam perhaps not carry anything. If in her generation artist Lidzie Alvisa used pins as part of her expressive matter, Aimée García the fine stitches of a thread on the classic set of dishes, Tania Brugera the hair of her contemporaries braided as a flag and Glenda León the light tape recorders from the eighties or the inner engraving of a little music box translated to several languages, it is the fine dust of “our fundamental clay” bordering and protecting the sea, the primary element for Castillo’s metaphoric and practical construction.



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