Héctor de Anda

Parallel to the creation of art objects and installations, Héctor de Anda has pursued abstract painting as a means of personal expression. His style is characterized by the generation of huge fields of white, gray and other colors associated with aging and calcination, inscribed with lines, signs, shapes and even schematic figures primitive enough not to annul the abstract autonomy of the painting. One of his recurrent motifs, the decay of matter and the vestiges of its original appearance, has allowed him to deal with his subject par excellence, the passing of time, excluding specific referents.

Urban Fossils is an easily recognizable variation of the theme. In this series of large paintings, Héctor de Anda adopted an identifiable referent that adds to the stimulus produced by purely abstract exploration the possibility of accommodating extra-pictorial connotations. Large urban advertisements, known as billboards (or espectaculares in Spanish), plaguing Mexico City with consumerism-provoking images that clog its “arteries” and assault the attention of drivers, are for him concrete referents whose structural mutations or gradual or sudden decay seem to be brought about by an action similar to the gestures of lyric abstraction.

Although ruled by geometric patterns, Héctor de Anda's paintings rely exclusively on chromatic composition to recreate the fortuitous decay of the tattered images in his spectacular “models”. De Anda calls them “fossils” because, once their mission has been accomplished or their lifespan shortened by storms or gales, their skin falls in shreds while their precarious skeletons await—as everything else now—reincarnation in novelty.

The result is a series of games of dynamic harmony among stains supported by a concept of beauty swiftly extracted after a terminal diagnose.

Luis Carlos Emerich