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拍品專文
Tomás Sánchez is best known for his ultra-lush, light-filled landscapes of his native Cuba and other tropical destinations that lend themselves to his deft ability to render paradisiacal spaces that appear as if suspended in time. Rendered with nearly imperceptible brushwork, his hyper-realistic paintings capture our imagination--as much for their contemplative and spiritual qualities as for their exuberance and seductive power. Executed from memory, his landscapes rarely refer to a specific site, but rather are a synthesis of numerous places, both real and imagined, intended to evoke a bygone era or an increasingly fleeting natural environ.
Executed in 2005, Buscador de paisajes contains many of the fundamental elements that have come to exemplify Sánchez's production--the use of a panoramic or sweeping vista that imbues the painting with a sense of drama and monumentality, the emphasis on linear perspective and the structuring of the composition along a horizontal axis that further accentuates the sense of expansiveness and depth as well as the magnetic force of the work which pulls the viewer into the painting, and finally the contemplador--typically the image of a man with his back to the viewer--perhaps the artist himself or a metaphor for all mankind. Rendered as a miniscule figure in relation to the vast expanse before him the contemplador gazes at his surroundings in silence overcome with a profound sense of wonderment and a feeling of oneness with nature. A sentiment not unlike that expressed by Sánchez in the following statement, "I look at [the] landscape with a sense of reverence, but I feel totally included within it. What is inside is also outside. I feel as if I am outside looking at what is inside."[1]
1) As quoted in "Interview with Tomás Sánchez," in Edward J. Sullivan, Tomás Sánchez, Milan: Skira Editore, 2003, 19.
Executed in 2005, Buscador de paisajes contains many of the fundamental elements that have come to exemplify Sánchez's production--the use of a panoramic or sweeping vista that imbues the painting with a sense of drama and monumentality, the emphasis on linear perspective and the structuring of the composition along a horizontal axis that further accentuates the sense of expansiveness and depth as well as the magnetic force of the work which pulls the viewer into the painting, and finally the contemplador--typically the image of a man with his back to the viewer--perhaps the artist himself or a metaphor for all mankind. Rendered as a miniscule figure in relation to the vast expanse before him the contemplador gazes at his surroundings in silence overcome with a profound sense of wonderment and a feeling of oneness with nature. A sentiment not unlike that expressed by Sánchez in the following statement, "I look at [the] landscape with a sense of reverence, but I feel totally included within it. What is inside is also outside. I feel as if I am outside looking at what is inside."[1]
1) As quoted in "Interview with Tomás Sánchez," in Edward J. Sullivan, Tomás Sánchez, Milan: Skira Editore, 2003, 19.