LUIS FILCER SEMBLANCE
Born in 1929 in Ukraine.
Luis Filcer emigrates to Mexico a few months later. He began his plastic arts training at the San Carlos Academy, he was a student of the Spanish painter José Bardasano. He continued his studies with scholarships in Paris and Rome, then lived for twenty years in Holland.
His return to Mexico, gives Filcer a hard-earned place as an expressionist artist (or post-expressionist according to some critics).
He has participated in more than 300 exhibitions in addition to honorably representing Mexico in three international biennials (Santiago de Chile; Tokyo, Japan, and Brighton, England). His work was part of the exhibition of 20 contemporary expressionists at the Grand Palais in Paris, France.
Based on a masterful handling of color, Luis Filcer’s plastic proposal travels with a refined rhythm emerging from the shadows in each canvas. The incidence of light is exploited to all its possibilities and, precisely in this way, creates the atmosphere that frames anthropomorphic figures, which could be seen as the central image, but which depend intimately on the space not described beyond light.
For each theme Filcer occupies a color in its entirety that gives the image an emotional character, as is clear in his painting “The Prisoner”, a work resolved in blue, regarding the coldness of the cell and the blues of that self behind the grille. In this sense, the contents shown by the artist are fully integrated from the name of the work to the color and its obscurities. There is thus in Filcer’s work a systematic correspondence between color and emotion. To each of his works corresponds not only a social reflection, but also and to a greater extent a reflection in the sense of the emotions experienced by the actor in his context and the observer, who is moved daily by the images that the world brings us to confront us with the person we are.
In large format canvases, triptychs and diptychs, he shows a firm brushstroke that ends in the gestural intentionality of his characters, given with various resources such as final brushstrokes, textures, expressive features defined with plaster, sgraffito that embody the depth of the character and more than being that of an element of the expressionist technique are the sincere sample of the search for an interior of the character, recreated by the artist and his tear in the emotionality of the image itself of the viewer.
A strong brushstroke that discreetly accentuates the general proposal of the work, textures that mark the multiplicity of sensations and planes in which the daily images are seen and that in this sense lose their normality to become a detail that incites inner reflection, and sgraffito that perhaps are not only technically but textually Filcer’s greatest achievement in the sense of finding in the other, whether the central character or not, a depth revealed by colliding with the foreign eye that gives it a value and a unique and deeply intimate sense.
The artist defines all the details with a subtle and definitive balance because in “Waiting for God”, it is evident how the dark foreground, the heavy black, is balanced with details on the light, in his general work we can see how he modulates and places the space obscuring a gesture in contrast with the bright premise of the form. As if darkness endowed light with its ostensible details.
The expressionist (or post-expressionist) retains the need to touch with his themes the destructive incidence of the present, somehow we still live in a war, which takes us out of the house to confront the enemy: whether in the subway, the church, the prison or the mirror, for which we are still unprepared, so that the theme remains, the fierce humanity, for whether in “Aquelarre” or in “The Grand Inquisitor” we encounter features that in themselves are fatality that in their presumed concealment becomes even more apparent.
Revealing itself through everyday life is the masterfulness of this collection. There is a clear demand to the reality made metaphor with the light, when what prevails is the shadow, it is necessary to define the luminous space to make a little truth.
Filcer brings light out of the shadows as a stubborn search not to run away from the pain that is already manifest and blurred. What seems unclear continues to confront us in spite of how shadowed the other is in our daily lives.
Facing a collection of Filcer, is to stand in the theater of masks, a stage that is the daily loneliness of the human being, characters behind disguises that are a grimace that pretends to hide the undeniable inner world. To put it in one way, to attend one of his exhibitions implies exposing oneself with his masks and demons, with his actuality and his permanent “Waiting for God”.