By Luis Enrique Padron
To Adriana Arronte seduces to make question about capacity of outo-representation that show the contemporaries societies. State of grace, rehearsal in all rule, to get in a crucial moment of our culture to demonstrate that the glory is not an absolute one, but a relative. This way translate a great one to feel collective that marks today some fundamental lines of the thought and the creation in Cuba: the right of the citizenship to have the power on their own symbols.
Diverse approaches exist to this concept, the artist has selected even this way the idea of the assumption like image. In the granted treatment demostrate a high dose of cynicism, virtuous recreation of a society in which the act of ascending always involves serious personal sins. For that reason the predominant rhythm in the course of the narration is the descent, contrary of sense that involves in the speech a subtle posture of judgment.
“Since the sovereignty of the minds is always false, the new critic prepares to descend from the head for the whole body.”
The analysis will that moves the artist is solved in a landscape, nurtured by unsuspected dead natures. The objects show certain textual quality without being lacking the underlying poetry to their origin.
The sensibility that wakes up in them finds an artifice, a sacrilege, a manipulation, a fetishism; in the inorganic and decadent thing. It imagines this way that that West, as long as place of the knowledge, is and mentions to the ulterior sense of the beautiful thing to inspect the building of our universal values.
The manual effort prevails, meticulous in extreme, in the identity of each work. Adriana is distinguished to approach the creative act through occupations, procedures and lightly disjointed traditions of the artistic thing, such as the goldwork, the seam and the pottery. The material registration to which appeals supposes for if alone the demythologization of that that of grace in its multiple meanings means. It prevails along the exhibition a falsified idea of sumptuosity and fullness, accord to an essentially cynic posture. The gaza, the golden reinforcements, the nature degraded by the resin and the clay, the profaned splendor of the laurel; all that it happens it overflows death and artificiality, making us feel to the stalk of the septic thing. Optics that rotates around the metaphysics and it questions the even unbeatable wonder of the World of Platon’s Ideas.
But as any artistic effort it is completely autonomous, the extraordinary circumstances that it crosses our society are mentioned as you annotate to what democracy means. State of grace also deepens in the sense that has or should have the critical thought for the contemporary life, affirming that only as aesthetic phenomenon it is justified the existence of the world.