Andrea Busto ( For the catalog of SUPER-ABSTRACTION exhibition )

The work of César Delgado can be compared to a scientific laboratory in which a world of ultra-small creatures is observed under a microscope. Twisted snake-like forms intertwine on the canvass marking out a path with trails of hardened liquid colour. Like eels hatching in a tank of water. Delgado´s signs vibrate with autonomous independent life. Brown earthy colours mix with pure white and snake across the painting´s space in twisting, Baroque circumvolutions. Then suddenly horizontal bands delimit and close the scene, reminding us that the world of a scientist is that of the artist, where precise, phisically defined brushwork´takes us back to Lichtenstein´s cold impersonal, sharp brushstrokes. It is painting of painting, abstraction for the sake of abstraction. It is work for it´s own sake. There is no pathos; everything exists so that it can be studied, analysed, as throug in ther table in an anathomy theatre. Delgado places the pieces of the painting for the authopsy of the history of art or proceeds instead like a paleonthologist who breaks open rocks to bring to light fossil shells from the Jurassic period. Corneous spirals, splinters of bone, foliaceous lamella-shaped segments vibrate in these paintings /slides of his work, in which vague Kandiskian memories melt into optical-pop problems.

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