Antillano - José
Antonio Castro - Roberto
David Rincón - Rafael
Pineda - Peram
|Francisco Bellorín is now known simply
as "Maestro" both due to his extensive and fertile creative
journey and especially for the high artistic hierarchy of his work.
He deserves the title of Maestro also in its literal sense for his
valuable role as a highly distinguished art professor and for the
influence that his graphic and pictorial works have had on sketching
and painting in Maracaibo, a city whose very imaginary and fantastic
character is due, in large part, to Bellorín's surrealist contributions.
Bellorín's paintings have been a torrential flow over a long
creative career. They are the images that come back to our conscience
in the same way that the sea leaves behind vestiges of faraway shipwrecks.
They are indelible tracks of dreams and interior storms. His painting
is the testimony of a development, of the passage of time.
At times solemn, or enigmatic, or shrouded in an aura of magic and
holiness, Bellorín's images appear laden with tension and ambivalence,
divided on a spiritual background of buried fears and desires. Dark,
with a spark of light in the center, these canvases unfurl forms that
are almost abstract and in which we feel that nature remains present,
indirectly, barely allusive, hidden, which in turn seems to remit
us to the supernatural.
The execution of these paintings is impeccable, clear, certain, with
a great sense of color and carefully composed, sometimes with certain
forms or elements borrowed from previous works, which are then inserted
and modified in new, well-articulated combinations. It is not a constructive
form of painting, nor is it informal, nor automatic, although it contains
some of all of these forms. Wild, phantasmal, libidinous symbols appear
and disappear in the upheaval or serenity of dazzling colors. It is,
above all, the quintessence of painting.