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AVILA PEDRO GENDIS Camagey, October 23, 1959. Painter, ceramist and sculptor. Study plastic arts from 1970 to 1975 in the cultural center of Camaguey Ignacio Agramonte, Cuba. Carlos M. Lus Pedro Avila Gendis. Born in Camaguey, Cuba, in 1959 his studies and exhibitions take place on the island where recibivarios design awards. Moved to Portugal in the year 2.000, presentvarias exhibitions in this country both painting and sculpture, leaving your name settled in artistic media. Pedro Avila currently living in USA where pictorial done its work continues. Returning to his Portuguese stage in the catalog of the exhibition to do in the Art Gallery Holy Spirit Convent, a surprise in the same construction made from drawings juxtaposed against a background that provides strength to the composition. In other words the artist was looking into the abstract expression, a sort of counterpoint between forms structures and colors that suggested a stylistic relationship with many of the French masters mentioned in this paper. That counterpoint, then lights to indicate an inclination to maintain the architecture of the box intact although some of hese the free play of colors is leaning more toward the gestural estratificacin practiced by the French and some American painters such as St. Francis. It is interesting lights to indicate aquque despite not having had any direct contact with the Group of Eleven, Pedro Avila continues in some way the path opened by several members of that group, especially by Antonio Vidal who incidentally, also No practice sculpture. I mean then several stylistic confluence always influencing the work of an artist but this one does not have direct awareness of them. The issue of influence is something that spreads through other you seem to be in the air without being perceived in a precise way. Each artist breathes the air that suggests his inner voice as in the case of Pedro Avila. Already located in your creative process we can now discover the same number of its most relevant properties. There are two simultaneous jumping tneamente to view: The shape and color. The first involves, as I have already sealed before a structure to support it. This is evident given that the medi-painter is advanced in its expression of abstract content but without prejudice to the trend yours praticar sculpture which gives his paintings a strong consistency. Habamos mentioned earlier that the auto-cycle the gesture could have given some of his earlier paintings an ease that no planes msrgidos oats operating den-ter of the majority of his paintings. But as the artist was exploring the flat-structure equation, these forms were required creating more space in many cases some volumes that suggest the presence of a sculptor& 39;s hand behind the brush and brush. This does not, how-ever, that his work suffers from statism. By contrast, the manipulation of color is in function of setting in motion a surface and the first teachers were as abstract as Kandinsky dctil games of his imagination. We could then assert that these movements SBIT we discovered in many of his paintings tend to recreate a world conceived poetic fashion pictorial. Which brings us to another important element: color. The color is, who certainly an inexhaustible source of creativity. With an artist& 39;s color beyond the borders of the immediate perception of things to explore other dimensions as did the Impressionists, the Fauves and their heirs of abstract painters as Kandinsky. This last soltdefinitivamente the ties which exist outside reality to stay pure expression guarding chas more closely relationships with other arts such as music and architecture, both are by the way, intimately related to each s. That is always open and to abstract painters is that Pedro Avila travels using a rich palette that at times we operate in their boxes in a form-content. Despite its immediacy, color has its mysteries that only the artist is able to decipher. In this sense a painter actamgicamente with formulas and procedures that will travs putting together a cumulative experience which includes many playful elements and chance. It is no secret that contemporary painter, mostly abstract trend, likes to experiment with color and playful Pedro Avila is no exception to the rule. His work testifies that fruicin the artist feels when he begins to work out what Raymond called the ars Llul tory combination leading to unexpected revelations. For example, when the artist expands the pigments on the canvas or paper prismticas creating high quality solutions poetic. The unexpected: I have here, then, the key that can open the doors of the painting of Pedro Avila. Against the set of his paintings can experience the initial shock that the encounter with a work of art communicates to us. Contemporary art has made a surprise ahque properties continue due to its best practitioners, a contagious vitality. I think the abstraction away from being out of fashion, continues to act positively on the crossroads where art is today. He played for artists such as Pedro Avila continue to show that vitality.
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