ABOUT THE LABYRINTH

 

Grey dust of rarefied cities, impalpable because they are moving, migrant.

Luminescent nights that pierce obscurity and deep shadows that overcome the day. The secret, like an alchemic arcane only partially visible, is the light: light defining the shapes, light drawing the outlines, light burning the eyes in an atmosphere of continuous aurora borealis and trans lucid dusk, in an inexhaustible primordial mix. It is the dusk, mainly.

Taking inspiration from this astral conjunction, Ernesto Morales, Argentinean Artist, born in Montevideo, capital of Uruguay, patiently composed the works of this collection, that aims at going back to the origin of cosmogony, immortalising parallel universes.

 

An extraordinary painting cycle, characterised by a profound personal research, a restless investigation that from its own individuality widens to scan the world, life and historical eras with harmonic spontaneity.

So, as in a personal introspective epiphany and personal memory, in these endless canvasses converge all the themes of a lifelong research: from the foggy urban architectures devoured by a dazzling daytime fog, through the mysterious and disquieting visions of woods, to the gaudy landscapes full of cows (an explicit tribute to his country, Argentina), to the nights full of the lights of star-full galaxies, of limitless and quiet universes under which it’s sometime possible to see the slight telluric reminiscences of never ending roads that disappear under the celestial vault.

 

So is the art of Ernesto Morales, PhD in Visual Arts at the Academia de Bellas Artes of Buenos Aires – which he directed few years later – and the election of Turin as his residence, with its cultural sensibility, the skyline of the Alps and the wide spaces of his atelier that is a studio and smithy of creations.

The peculiar aspect of his works, rigorously executed with oil on canvas and on paper, was apparently the monochrome in which light, in a prestigious creation, reverberated yet unseen solutions, spreading color until the edge of the canvass, in a clear refusal of dimensional constraints, but in this series there’s a sophisticated overcoming sign of great maturity: spiritual first, then artistic and analytical. Color is permeated by an allure of incredible clarity and sensorial pathos, so the Argentinean artist becomes demiurge and with material, almost carnal, pleasure incessantly dedicates himself for months, sometimes years, to the same canvasses that he realises at the same time.

 

Through a figuration that becomes evanescent, Ernesto Morales is able to give and at the same time to dissolve structural references, so those who love figurative art reads his works through stylistic figures and those who support abstractionism perceive them as a source of abstraction.

If it's true that art is in some way the most authentic expression of the soul, his personality, an impeccable cultural preparation and a bright intellectual sensibility contributed to the artistic confirmation of this talented artist. Referencing to Rilke’s poetry, finding a thought by Borges lingering on the tongue, interested in Goethe’s esoteric Faust, winking to the late Middle Age of Bosch, Morales brings mythology, poetry and literature on the canvass.

BOSQUES

CIUDADES MIGRANTES

VACAS MIGRANTES

EL CIRCO

TRACES OF MEMORY

MARES MIGRANTES

Click here for Ernesto's Bio

Ernesto Morales intervistato nel suo studio di Torino da Ivan de Pineda per il programma televisivo argentino Resto del mundo.