Calé Suárez

Allegory of Human Nature

By Hortensia Montero

With a unique modus operandi in his aesthetic itinerary, Calé Suárez proposes his reflections on the contemporary man through a realistic, striking and seductive language. His conception assumes the relationship between the human being and the social, political and existential conflicts that afflict humanity. He conceives his work with a reflexive thought that allows him to assume an exploration of the social surroundings from his philosophical dimension and his spirituality. You can see allusions to Andy Warhol’s work and Pop through his popular Campbell tomato cans, as winks that in a certain way operate as background of a work that also speaks of icons such as the Statue of Liberty, the contemporary, brands and consumerism, which is evident in the piece El sueño de la libertad produce monstrous (The Dream of Freedom Produces Monsters).

He assumes the relationships of the individual and his environment through a discourse marked by the hedonism of the creative act and a figurative language that is full of visual suggestions. He proposes his aesthetic assumptions based on criteria and feelings about his experiences, recreating various common situations. His proposal has an anthropological base, supported by symbols, which complement issues of everyday life structured on the basis of individually assumed attitudes.

Calé uses the shape of a metal fork to represent a bird, symbolizing the human being. With this analogy, he transmits his considerations about identity and happiness through a theoretical base that equates human attitudes with those of the bird.

The artist uses figurative painting to tell stories that arise from his experiences and to provoke a reflection on different attitudes assumed by the contemporary subject in his existential evolution. These postures dialogue with universal themes in the pictorial space; he thus explores the relationship between human beings and their environment.

The novelty of this strategy lies in the importance it attaches to the allegorical in its imaginary, solved with an impeccable technique, where metallic birds, hungry, constitute a strong bond that ratifies the tripartite relationship between: birds, subjects and humanity. With this solution, based on the change of roles, it moves the public, since behind that mask there is a mutation, in which the need for happiness that constitutes a legitimate desire of the human being is sighted. This idyllic appreciation of social reality constitutes an unprecedented conceptual strategy, a true authorial mark that distinguishes its poetics in the plastic panorama of Cuban art that today develops from the diaspora.

His feelings, ideas and concerns of metaphysical origin contribute to visuality, since he encourages spectators to participate as an active element of society. This sentence corroborates that human beings are not always what we project, but on many occasions we choose, as in their winged beings, to be Survivors.

His hypothesis about the nature of the individual proposes that this «armor» that we appear, vanishes when the human being discovers love, a feeling that allows him to escape from his attachment to the ego and the pre-eminence of the object, to reconsider the true value of the consumerism, which engorges minds, tastes and senses. Behind all this, emerges the necessary mutation, in which happiness prevails and allows the individual to understand the importance of assuming the vital aspiration without material ties, although not always the feeling manages to win in all cases. This intellective process expresses the depth of its philosophical dimension through conceptual coordinates that support its artistic statement, based on the fact that human beings are seduced by the unknown.

As Calé Suárez himself says in his statement:“The solitary or group bird, which appears in my compositions, alludes to the behavior of the individual with respect to the reality that surrounds him. I try to show in my work the link between autonomous behavior, individual, with respect to the group, referred to the masses. The essential is inside”.

The narrative dimension of Calé’s work becomes a playful and categorical expression of his existential concerns, based on commitment and hope, assumed from an authentic visual fantasy of the interrelations of everyday life. The relevance of his creative capacity lies in that he urges us to consider the importance of always giving the battle for the human, the sensitive and the beautiful, without making concessions. That is your challenge.

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