Critiques By:
Sergio Antillano - José Antonio Castro - Roberto Guevara
Cesar David Rincón - Rafael Pineda - Peram Erminy
Carlos Contramaestre

Francisco Bellorín
Peram Erminy

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.