The Herald Culture Tour

By Alfredo Cernadas

Buenos Aires Herald

CARLOS AUBAIN, a resident in the US who now periodically visits his homeland, this time makes his mark with an exhibition in which we may find some samples of his art. Unlike many other artists who stick monotonously to a same subject, Aubain tackles a wide variety of themes with equally varied approaches, which can make the viewer think these works have been made by different artists. But, nonetheless, there is an energy and colorfulness that are unmistakably his, and for all his versatitlity, we can recognize as unmistakably his. As is a remarkable ability in combining and blending the different, generally saturated hues, with a sleek, skilfully handled technique. This sensuality can be especially felt in the gorgeusly coloured, lush vegetation of the tropical forest, with dramatic contrasts between shady spots and others, bathed in the glaring sunlight. One can almost hear the sound of the insects in a tireless, sweltering midday chorus. The same exuberante is found in imposing, majestic Inca buildings which, although deserted, hint a powerful human presence, unseen but ominous. Aubain's abstract works feel like visual music, suggested by the undulating planes of explosions of colour that seem to be about to burst out of the canvas.



. . . Painting is a way of freely expressing one’s soul’s experiences. Carlos Aubain, with talented sense of composition and an almost impressionist vision of light succeds in creating a magical climate, and through his personal vision, reality acquires a new poetic dimension. Coloristic intensity that respects the form mastering the counterpoint of light and shadow, shown for the fukfillment of the beholder . . .

A. Ruquet, Braque Gallery

Buenos Aires, Argentina



“. . . The high standards of his education determined his constant polishing of lines and planes that he handles fluently in both oils, engravings and acrylics. His themes are also under the sign of variation. Geometrical constructions surfacing from lonely spaces that encompass a metaphysic climate, attractive color ranges or cosmic suggestions (Awakening I and II), alternate with still lives, landscapes and characters in treatments that go from abstracts to figurative.

On occasions, his preference is to stick to a descriptive language: on others, he lets his imagination wander in strong chromatic tones like in The Days of Creation (I and II) or Exaltation, a true display of tonal balance.

His domain of the technical tools allows him to move with entire freedom, as we can see in the successful foggy-like of The Cloud Cat, with reminiscences of the Cheshire Cat, in determined contrast with the lusty tropical landscapes of the Tahitian landscapes that are a testimony of his direct observation of a refined nature, through a dreamlike nostalgia. Alternatively, the metaphysic language of Pachacamac I surrounded of almost oppressive silences. In a constant flow of images, mother nature as well as the objects of the everyday routine are part of his pictorial lyricism . . . .”

Diana Castelar

Diario Clarin, Buenos Aires



“ . . . . Unlike many other artists who stick to a given subject for years on end, Aubain surprises with his versatility. Not just because he masters several techniques, which many others also do: he delves into totally different subjects almost simultaneously. Indeed, he alternates abstraction with figuration and even then, his choice of subjects varies. But there is a feature in common in both fields: dazzling color, which he uses tastefully and with gusto in truly vivid pictures. There is not one dull painting in Aubain’s output. . . . This is dazzling evident in his recreation of the jungles of Tahiti and Misiones, for instance. Or the parks of Paris, in which the sun plays with the foliage in a magical way . . . . There is quite an area of mystery too in his impressive Inca temples.

Combining figuration and abstraction, Aubain displays a fascinating oneiric streak when he delves into surrealism. There is of course no lack of fantasy when he turns to abstraction. And in this field too there is a variety of results. For he does fiery Turner-esque clouds in truly berliozian passion or sensuous combinations of curvy planes and warm hues straight our of a Ravel score. And there is a series with numbers as those which soar merrily to a colorful sky. Although he favors large format, Aubain can be quite an effective miniaturist . . .”

Alfredo Cernandas

Buenos Aires Herald

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