Victor Cordero - Bar interior

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. The Impressionists, in particular, favored subjects related to modern life in urban, bourgeois settings. The human figure (particularly the female figure) is central to Victor Cordero's Expressionist art: in his paintings, we find an investigation, conducted along the lines of existentialism and the analysis of human relationships, of a humanity captured in the daily routine of its gestures and rituals.

Whether in his individual portraits or in his couples' portraits, or in his scenes depicting social rituals, Victor Cordero has achieved an absolutely coherent and original pictorial language. Figures are repeated in a crystallized form that goes beyond the representation of individual features to aspire to encompass broader, universally relevant meanings. Cordero's existentialist art is not interested in external reality, but rather in the individual's interior, which the artist explores through his expressive means. The pictorial deformations that characterize his paintings are, therefore, the vehicle for expressing his existentialist anxieties. The most significant aspect is that Cordero achieves all of this in a highly original formal manner, of great artistic impact. His pensive figures, seated or leaning on tables, gazing at the viewer with both intensity and detachment, cannot fail to recall German Expressionism, even in their exaltation of a harsh and angular plasticity. However, this model is reworked by Victor Cordero, in a new guise contextualized to his Caribbean origins. His subjects thus take on a folkloristic freshness that somehow tempers the seriousness of his introspective investigation. This can be seen in the vivid colors and the painter's search for strong, intense juxtapositions. Furthermore, his strongly structural brushstrokes (obviously borrowing from Cubist explorations) in the definition of square volumes have an archaic expressive force, reminiscent of the sculpture of some ancient, tribal civilization.

Víctor Cordero Salas (1961) is a Cuban artist who graduated in drawing and sculpture from the San Alejandro Academy of Plastic Arts and is a member of the National Union of Writers and Artists of Cuba. Although he has experimented with caricatures, comics, posters, ceramics, and installations, painting remains his preferred medium, with the female figure as a common thread, a recurring image in all his compositions, yet without falling into monotony. Cordero has exhibited several times in solo and group shows in Switzerland, Cuba, and Italy. In 2020 and 2022, Victor Cordero participated in the Rome Biennale.

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