El maestro ha muerto: Historia y naturaleza de Francisco Toledo

El artista fue un modelador de valores culturales, de pensamientos visuales que construyeron formas de resistencia, quizá hoy las únicas contra la racionalidad que instrumentaliza al hombre y a la naturaleza.

Francisco Toledo ha muerto: artista, promotor cultural y activista. Nació en Juchitán, Oaxaca. Y ahí murió, el 5 de septiembre del 2019. La comunidad artística, académica e intelectual lo lamentaron, pero más aquellos quienes se vieron influenciados por su activismo y filantropía. 

Eduardo Araiza es cineasta por el antiguo CUEC de la UNAM y realizó su maestría en Artes Visuales en la especialidad de pintura. En entrevista con Walking Around  habla sobre la creación artística del maestro oaxaqueño recientemente fallecido.

“La obra de Toledo ha sido calificada dentro del Surrealismo, el Realismo Mágico y del Realismo Maravilloso; ha sido celebrada como pintura erótica o como expresión de formas de vida campesina, sin faltar su lectura desde la perspectiva psicoanalítica; de ahí la importancia de su obra, en un mundo que cada vez tolera menos lo distinto, las minorías, la diferencia”.

En la obra de Toledo hay historia y naturaleza. El experto explica que en ella se encuentran elementos que nos remiten a una concepción mítica del mundo  y sus procesos. “No son pocas las obras en las que las escenas representadas se oponen a la lógica instrumental: hombres, animales y objetos en imposibles metamorfosis realizando acciones inverosímiles que remiten más a las características de los relatos fabulosos”.  

Toledo siempre fue un grande activista, por ello representó en su trabajo la comunidad de los seres al interior de su naturaleza, pero también y sobre todo, su relación desgarrada por los procesos civilizatorios tal y como se dan en la sociedad industrial. “Este es el elemento que hay que señalar: Toledo no pintó a Oaxaca, tampoco sus mitologías, fue un modelador de valores culturales, de pensamientos visuales que construyeron formas de resistencia, quizá hoy las únicas contra la racionalidad que instrumentaliza al hombre y a la naturaleza”.

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