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Artist Exhibitions:
ALVARO DAZA
PINTOR ESCULTOR
1950 BOGOTA, COLOMBIA
Alvaro Daza, aventurero por
naturaleza propia, trotamundos
incansable, viajero
impenitente, vecino de mil
calles, energía de otro mundo,
ahora entre nosotros.
De una agilidad interna para
recibir conocimientos.
Investigador y amante de la
química.
Con mas de setenta expos
alrededor de ...
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Artist Statement for Alvaro Daza
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An approach at the life of a painter
in a flight of colors
TEXT:
JORGE IVAN MORA
TRANSLATION:
CAROLINA CUERVO GRAJALES
I
It is possible to say that the memory of a plastic artist resembles –because of gathered recollections- to an airplane’s black box, which has always been bright orange, like is known, to distinctly guarantee the findings of unfortunate flights. The idea of eviscerating the mysteries of the painter and sculptor Alvaro Daza, flew off one December afternoon of the year 2002 at the first sights of summer in Panama.
Days before, we had talked sporadically in different occasions, but that afternoon, from the tenth floor of his apartment, maestro Daza talked again about colors, besides carrying them well in the vaporous silk of his shirt with red and blue round stamps, repainted with ocher and perhaps purple spots, and with the crude attraction of the main wall in the living room. Hanging on the wall, there were three oil paintings with the physiognomy of deep woods, and one or another frame on a furniture, resting on the floor, or held on a corner. It was without a doubt, the irresistible surroundings of a paintbrush and spatula juggler, who a few hours before fought an intense poetic battle of multiple colors to his characteristic woods.
Among observations, Daza moved towards the wide window of curved glass from where one can see the city’s old downtown area. He fixed his far-reaching eyes towards a dock full of white yachts and vessels, built next to a sea wall that borders the historical Balboa Avenue in Panama city. It was then when a playful breeze came around from time to time, lifting the rested blue water of the bay in the expansion of its infinite impotence, while a kind of gentle fog showered by the shining sun moved farther, reaching the city’s Casco Viejo like an arm entering the sea, and the rows of boats that from a prudent distance, one after the other, wait their turn to cross the Panama Canal, this time from the Pacific to the Atlantic, with the mediation of some islets around the beaches of Amador, regularly loaded with splendid greens. It was when he talked about experiments and equivalencies with acrylic materials from primary tones, those with which many years later he found his chromatic personality that identifies his wooded and abstract surroundings. Then, a lost dream revived in Santa fe de Bogotá of extending colors to the public in suitable quantities for the pedagogy of all children in the world, adding little pallets and paint brushing games. However, a stele of curls from the motor of a small yacht must have awaken the deceptions and charms of an intermittent past, because he finished drawing in the horizon the pleasures of painting in the intimacy of a pathless vessel.
The wind’s complicity joined a sensation of inebriated liberty. And only the sight of a black point remained from his starting point, saturated with legends and heroic walls: Cartagena de Indias, which opened with grief and pride in his memory, since he lived there the last five years of his life, until he arrived to Panama, a while before Christmas. But at the end of the day, scanning the yellow lights that brighten the islets besides Amador beach, he came back from the past and reconciled with the exact and elevated dimension of his surroundings, asking silence the denouncing premise, like a night collorary, that the cycle exiles of Alvaro Daza are messengers of time, directed to make testimony of his human unrolling, to relate to the global community the ambition of his pictorial proposal.
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