LIBRO - CATÁLOGO HAITZ DE DIEGO

THE VISION - Haitz de Diego 18 gral and essential part of the statement, it is then when the expression of that art reaches an ex- traordinary resounding; when we can be sure that we are really in front of a masterpiece. Haitz’s painting —of great depth— wanders be- tween light and shadow, deciphering the apparent to show in the nude what the skin of the tangible reveals, the most intimate thing that reality hides. And he does so with unusual ease, because from the first sketch to the most imperceptible nuanc - es, they are free of dust and chaff; they are simple and concise, brief and forceful. In the right meas- ure, without frills or unwarranted embellishments. Some of his canvases are a kind of filigree of tones, a laborious swarm of colour gradations, often monochromatic, which create hollows and voids, insinuated spaces or windows through which the light bursts through. He dares to work with limited palettes, letting the nuances take control. He works with light as a protagonist and as a figurehead; as a back - ground and as form; as an element revealing the spiritual background that underlies the elements that make up each of his creations, especially those that make up his most recent collections, marked by a brilliant and resolute execution, usu- ally in large formats, in which the power of the story bursts forth in all its splendour. In these collections, light is both victim and ex- ecutioner, a spiritual inspirer and devastator of gloom, darkness and opacity. Darkness is the counterpoint. The result is a testimony. And it is regal. There is no judgement or questioning, but neither does it leave much room for doubt, because its sce- narios are accurate, overwhelming to the point of shock. Dense atmospheres, leaden at times, that tell stories about fragilities, truncated dreams, snippets of the memory of what has been lived or imagined. Broken lives that do not even appear. Subtle allu- sions to what is, but does not seem to be. Scenar- ios drawn with absences and presences; spaces covered in languor, engulfed by oblivion and un- ease; omnipresent, however, a nod to hope, mas - terfully represented by the irruption of the omni- present, colossal and radiant light, however faint it may be. The apparent decadence, the colossal decline of humanity in the face of impassivity in the face of