About

Profile ImageSilvio DelaCruz was born in Medellin, Colombia in 1954, studied art in his hometown and moved to New York in the nineteen- eighties. He has had one man shows in Colombia, Venezuela, New York City and Miami and won first prize in the Venezuelan state corporation of Guyana competition and the Queens Borough Public Library Competition in New York.
His art has evolved a magic quality resulting from the projection of images in his psych onto a reality he creates through his oil paintings. For the work of art becomes part of our reality if we consent to enter the artist’s creation.

Silvio DelaCruz evokes elementary emotions, the very ancient rituals that in the one or another form were shared y earlier humanity. Dreams expressing our subconscious which sometimes connects us with a remote yet potent atavism. The memories of mankind’s youth. To talk of connecting is quite indicated in this case, as Silvio DelaCruz tends
To connect us with a vital part of our self in a world that tends to alienate us from it.

A dream-like atmosphere emanates from to these paintitings; yet they are no night pictures. They are solar, not lunar. Gold and yellow are recurring colors. On the other hand, the colors are muted and finely nuanced, contributing to an aura of mystery. Yet this is no mystery of darkness. It is the mystery of life, of its forces, manifestations and energy. Hence, the images of love, of celebration, of dancing in the sun. We are a far cry from the sultry, noisy dance-hall nights of our sick society.

Symbolism plays s significant role in the work of Silvio DelaCruz. Some of his signs are mysterious, like a forgotten ideogram writing of early ages. And symbol language leads him to several abstract or semi-abstract paintings, although most of his work is actually figurative.

Silvio DelaCruz paints some noble heads and would be perfectly capable of drawing in a style of realism, but that is not his objective: he is concerned with archetypes, not with individual traits. He therefore creates highly original figures whose heads frequently are very small and whose limbs sometimes are merely indicated by lines, similar to the manner in which the ice-age artists of the caves represented humans, since they too aimed at archetypes, symbols of man. Highlighting individual characteristics-that which distinguish a human being and make him or her unique-is a legitimate concern of art. But so is the opposite: the emphasis on mankind’s common heritage and attributes, its common memories and feelings, a harmony of man and nature; and these are the themes of the paintings of Silvio DelaCruz.

We may well say “manking”, for he rarely refers to specifically South American features, to the pre- Colombian Native Americans, and much more often to the emotions and rituals that go back to the early stages of all communities and peoples. The celebrations of the Indians are among the various versions of earlier Man’s general Nature worship. The art of Silvio DelaCruz transcends ethnicity. It points to sources in which we all have a share.

PETER BLOCH