COVER ARTE AL LIMITE MAGAZINE. 2009

Salustiano thinks so. His works have changed the limits of portrait painting. He approaches the human figure with the rigour of a Renaissance painter, through a detailed study of

form and a clear brush stroke.

Is it possible to find beauty in times of transgression?

However, the characters are decontextualised. They are lone busts and faces over an empty and monochrome space only limited by the canvas itself. Bodies appear like in dreams where everything turns red.

Red: that’s the colour he likes to use in order to reflect in its perfection a deep and complex peace. It would be difficult to guess that his models have been found on the street: “I’m interested in atemporal and serene faces, with a generous expression in the mouth and a transparent gaze. I want it to have the appearance of eternity”.

The work of this artist begins when he photographs the model. Although he usually does not talk much to them, there is always a complicity: “You realise that it’s not just a serene or beautiful face, they are very special people, and curiously many of them are related to music”.

Beauty, academic perfection, minimalist composition… don’t you think it all contributes to some kind of commercial tone which plays down the effectiveness of its message? Why “beauty”, in times when critical art is needed?

Do we really need critical art? I have never believed in this “pamphlet-art”. I think there is a lack of beauty messages in our environment. We are saturated with visual stimuli; artists create shocking images just to attract attention. But in a wall where everybody shouts, sometimes we just want to hear someone who whispers… Exhibitions and art fairs are full of blood and violence. Is it criticising violence? I don’t think so.