As any other created object, an art piece synthesizes the human energy and time put into it. Even in this era, where the authority of the concept allows for the outsourcing of a work’s production process, energy and work are here consumed in a creative project. Ahmed Gómez endeavors to make this vital flow inherent in the realization of an art object, which is the axis of his creative search, and he does so anchored in the tradition of the artist as executor of the work. The exhibition, “Handmade”, summons works that epitomize that condition.
The act of transforming ordinary materials, such as corrugated cardboard, into matter molded by work and artistic intention, makes created objects gain their artistic status. The execution that shows the work’s living process becomes substantial in paintings with three-dimensional effects that do not conceal the mark of the artisanal practice. However, this taste for manual gesture is not limited to the formal structure of the work. It is coherently complemented by the artist’s wealth of ideas and world view.
There is sediment in the work of Ahmed Gómez: he is an artist with a solid technical and conceptual background who is part of a generation that had the rare privilege of living a creative context detached from market trends, when the art imposed itself as a critical conscience and mode of resistance. We are talking about the complex reality of Cuba at the end of the 80s and beginning of the 90s. Ahmed is part of that body of young intellectuals who nurtured the diaspora of his generation and took on the world with their tools to find a space in the art circuits of Madrid, Mexico, New York, Paris, or Miami, cities that at the time were far from having the artistic dynamism that they exhibit today. This made art an arduous and challenging occupation for many.
Since his earliest works, there has been an intimate relationship with the legacy of constructivism and related artistic movements, not only in their formal appearance related to geometric ideas and basic forms but also with what is most essential in these proposals. The intention of the synthesis and the creative formulas that allowed for reflecting the most abstract concepts, subverted the art as a mere reflection of the visual representation. These works give space to the possibility of capturing time, darkness, and balance, as well as a transition and opening to the mystical, the philosophical, and the transcendental.
With his manual workmanship, which often appears as formal playfulness and brushes ludic language, the work is macerated in the broth of continuous ideas that the artist generates, supported by dense readings of philosophy, literature, and poetry, ranging from Hegel, Benjamin, Bulgakov, and Proust to the poetry of Rimbaud or the haiku of Matsuo Basho. Perhaps the legacy of William Morris on the functionality of art and its Arts & Crafts movement is suitable as a filter through which to see this work, as well as the ontological idea of art as revealing truth and pure form of being.