Elida Roman critic

Responding to a natural intuition , in his case deprived of adjectival rhetoric, Efrain Vidal unfolds a visual language where the search for representation is not attempted, he rather pries into that place further – and – nearer not only for characters, surroundings, objects and even simple situations, to find and reveal that complex world of relation that make up their very meaning.

For this he has developed his own operative equipment: the distortion that simplifies and levels, winking at what is comfortable for being known and identifiable (see the interpretation of perspective with which he renders spaces), a brilliant and lively colour, lovingly treated by veiling and lovely shades and, above all the use of humour and irony closer to the clean glance than to any tinted with affectation.

Reality of what is visual, of the painting as a part of the world rather than an approximation to it, in his strange tables, his almost impossible houses, his human angels with used wings, in these symbolic shoes inhabited by experience, in the sewing machine, in the chair, the racks, the windows, even in the spaces ever closer to delicate abstractions, light and shadow in dialogue and coexistence tint and reveal, as Merleau-Ponty wished, that “inner animation, this resplendence of what is visible”.

Elida Romàn
Art Critic