Author's presentation

Since the beginning of my pictorial activity, I have been interested in portraiture - I started "painting faces", which I exhibited in Madrid in March 2006-; my evolution is due to the learning that each work brings me while I paint. The collection of portraits that I present in this exhibition is a work made between 2014 and 2018. The characters have left their mark on me through their work. They are mostly plastic artists, some writers, two photographers. The impulse and inspiration that have moved me to paint them have sometimes come from their lives or human qualities, at other times they have been their words, their faces ... and in some cases all at once.

Jiménez Lozano's literary comment “Portraits of Inmaculada Cuesta” (fragment)

... And so much so that, for a painter of our days, it is absolutely problematic to represent reality if it is such a claim that an antique does not appear in average culture, and has to impose itself on hundreds of aesthetic or, rather ideological prejudices that were sown In the last hundred years, and if you cannot give up painting a self, if you paint a portrait, you are afraid of producing a coldly realistic painting, as in competition for photography, but a painter of today like Inmaculada Cuesta, knows very well another thing: that the power to cause the sensations and impressions that the games of lines, shapes and colors and the same pictorial matter offer for the representation of the body and the face itself of the portrayed, accommodating our eye to see a self more deeply.

But the technique of this biographical painting by Inmaculada Cuesta obeys nothing else, which by the way is not a brush painting on canvas or cardboard, but an impregnation painting on his own drawing of course, which allows the artist great freedom, but at the same time It also forces us to be with the self that paints much longer, and creates our gaze very effectively for the grave figure in the portrait of Edith Stein, or the one so full of light of spring and youth as in the portrait of Lisette, not to mention more. that of these two paintings as samples of all of them, without being silent, however, that in them there is a prevalence of blue or green, and the scale of blue that goes from the blue of the sea to the zarco, and the green that recalls both the gravity like joy, for example in Chagall, and then that's where we meet the self portrayed, and then we accompany each other.

José JIMÉNEZ LOZANO