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MANUEL
MUJICA LÀINEZ
The
simplicity, purity and light painting characterize Honorio
Morales. Also a freshness of youth. And these young fruit,
a touch of irony. We feel it throbbing, we do not know how
or where, but present. You have good taste; owns a range
undeniable refinement. What more can you say against which
we wish to regard as his first personal exhibition? Solve
your pictures from grievances can not preset, leaving his
imagination free play. And going forward.
(The
catalog of the exhibition in Gallery Veneto - Buenos Aires
- October 1964.)
ALDO
PELLEGRINI
Honorio
Morales was born in La Plata in 1933. . He studied at the
School of Fine Arts, University of La Plata. He moved to
Buenos Aires. For three years in succession resides in France
and the United States.
In his paintings using geometric shapes sensitized by a
slight mobility of the contours, primarily for the action
of color, pure, clear and noticeably toned.
Each table is the opposition of various plastic items linked
by a formal language consistent color. In his later works
also avoids the normal table to find a color action attached
to a spatial structure.
(In
"PANORAMA OF PAINTING CONTEMPOPRANEA ARGENTINA - Paidos)
PIERRE RESTANY
The
development of Honorio Morales is a remarkably significant
example of the preoccupation with spatial integration that
dominates the evolving-sector of "the post-painterly
abstraction". It was in the company of Clement Greenberg,
in Buenos Aires in 1964, that I meet Morales for the first
time. His painting was then linked to the classic spirit
of geometry, manifesting a very intellectual vision of space,
underlined by the cutting out of color planes.
The actual transition to "shaped canvas" in the
argentine artist's work shows simultaneously a retrospective
record and an open perspective. The record of a past experience:
the limits of pure dialectical opposition between form and
color. The open perspective: a new fact, a colored shape
freed in space, existing in itself as a whole. This structural
innovation constitutes the main contribution of the young
American generation to the renewal of the optic art, or
if you wish, to the modern tradition of a vision purely
retinal. In this sense there is no doubt that New York,
were he has been living for a year, has provided for Morales
the necessary accelerating catalyst.
(In
the exhibition catalog in Bertha Schaefer Gallery - New
York)
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