About Roger Toledo’s work

Amilkar Feria Flores

The first time I entered Roger’s workshop, I recognized at first sight the work of someone who moves around the diverse confines of the optic art, the abstraction, and a methodic and insatiable search for the authenticity of the chromatic nature.

In our first meetings, and with the maturity of someone who knows what’s doing, we discussed about the impressionists and expressionists: Piet Mondrian, Victor Vasarely and Chuck Close, among other likely influences that could be noticed in his canvases. In that time, by the end of 2008, the person I was speaking to was working on something that -to any lay person or even to a non-very thorough artist (myself included)-, was exasperating given its elaborateness.

Canvases with greys and blacks and some others that stood out by their bright primary colors got stretched in squared stretchers of different sizes -from twenty five centimeters to little less than one meter, joined with the accuracy of a cabinetmaker. Even more amazing was discovering that after being produced separately, they were put together like a huge puzzle where neutral and primary colors formed another creative program.

I would brand Roger’s space a lab of optic researches, but only initially. Behind this virtual “game” of settings, underlies the meticulous practice of someone who’s able to discern the differences between the almost imperceptible shades used. A deep perception of contrasts is evidenced, perfectly transferable to an emotional state, to the growth of a tree, to the explosion of a Supernova, or to the mere pause of someone’s breathing during clinical trials.

In the young artist from Camaguey, now a junior at the specialty of Painting, logical mathematic algorithms are abundant. They structure ideas that build architectonic elements in a better way, according to his vision of the matter which, obviously the most genuine.

It’s at first extremely challenging for the senses. After getting to know the shades, each person takes home a reading different from the author’s creative rhetoric.

It’s almost impossible to ignore his workshop once we got used to chatting at his dome about any random conversation topic. Roger’s squares take shape in the same pictorial surface, seeking in the confines of two kind of grey shades, cold and warm, the answer to an interest of a vertebral and minute nature, that could easily be a dragonfly’s feeling on a random morning.