CAMAGÜEY.- Second revelations confirm a daring. Ester Licor Pérez wants to graduate first with the public and then with the school court. That is why she joins the group of the newspaper Adelante and her public to the thesis process to graduate from the Vicentina de la Torre Academy of Arts. She has one goal: to move people’s feelings.
The exhibition can be considered an open work in an infinite path of searches as an artist. It is still at the initial point of her career, although it is already possible to identify her by the line, the themes, and the poetics. In a short time we have seen her appear in galleries and surprise with craft, with style.
Ester takes parts of the human body with a symbolic idea of the microcosm and the macrocosm. For her, the body cannot be separated from the soul or from the meaning of the world. She learned the technique from books given away by medical friends. Without a doubt, she connects experiences with legacies. Before, doctors created an image of Anatomy through drawing.
In front of her previous exhibition, De Stelli Corporis Fabrica, health professionals praised those anatomical drawings, the detail in representing each organ, although her imaginative work goes beyond declaring the human body the perfect little machine.
During the creative process, she is accompanied by an ouroboro, that symbol of the cyclical nature of things. In addition to the cultural sediment as a key to her home, she brings out her own cosmogony. With ink on card stock, Ester traces common anatomy turned upside down with Biblical, mythological themes, as evidenced in the Seraph, the monster Leviathan, and her Four-Headed Tiger.
The installation in the current one also starts from that exhibition with the lecterns as a support for medical bibliography and small-format drawings that she makes in an hour and a half. In the larger format pieces, it takes her about three days. She worked on this set at dawn when there was no blackout and the strain of her eyesight forced her to change her glasses.
There is irreverence in her way of putting the work into circulation as a social experiment. For a Student Salon she drew on live models. Indeed, these drawings allude to tattooing. Furthermore, her lines betray her condition from sketches to engraving. The next thing, Ester tells us, will be to return to the body. We aspire, like her, that in the successive revelations each person finds himself in her work with mind and body united as a whole.
Translated by Linet Acuña Quilez