This is an overture, to create, coming from vivid personal experience. When I do my painting I try to show up my perception fluid from my thoughts, loyal to it, must of all. My art response to an act – react of my every day, in the short journey of life. This painting and those about to come are the relief of the existence.
2017 Sounds of the bay. Kismet, Fireisland, New York. United States.
On behalf of Socorro. Inauguration of the XXVI International Book Fair in Matanzas. Illustrations to Maria Elena Blanco’s work. Provincial Museum Palacio de Junco. Matanzas.
2016 The sugar jungle. Pedro Esquerré Art Gallery. Matanzas.
Free Fall. Perico Art Gallery. Matanzas.
Exposed. UNEAC Gallery at the Ciego de Ávila Branch. Week of Contemporary Art. (bipersonal exhibition)
Cuban-Esque art affair. Red Rhino Room Gallery. Adelaide City. Australia. May 2016. (bipersonal exhibition)
2015 April Flowers. Space 34th Gallery. Cuban Fund of Cultural Goods. Varadero. Matanzas.
2014 Free Fall. House of Spanish America Gallery. Holguín. Romerías de Mayo (itinerant project)
Free Fall Royal House Gallery. Hermanos Saiz Association. Pinar del Rio.
2012 ShortcuT. Pedro Esquerré Gallery. Polyvalent Salon.
2010 Other Readings. “Ernesto Triolet” Pharmaceutical Museum. Matanzas.
Parallel Stories. “Teodoro Ramos Blanco” Gallery. El Cerro. Havana City.
Palmo-Live. Canímar Camping Site. Matanzas. Athens Rock Festival
2009 It is that way if it seems that way. ACAA Provincial Headquarters. Matanzas.
2007 This it is my city. La Vigia Coffee Shop. Matanzas..
2006 Blind Date. University of Matanzas “Camilo Cienfuegos.”
2004 A-Line-Arte. Center for the Promotion of the Plastic arts. Matanzas.
2003 PasteL Drawings. Naranjal Cinema. Matanzas.
2017 XXII Salon of Landscapes Leopoldo Romañach. Space 34 Gallery Varadero, Cuba.
2016 To center the periphery. Center for the Development of the Visual Arts. Havana.
2015 Reagents. Pedro Esquerré Gallery. Matanzas.
Visuarte. UNEAC. Cienfuegos.
Whatever. 12thBiennial of Havana. Félix Pita Rodríguez Cultural Center. Miramar. Playa. Havana City.
2014 Whatever. “Pedro Esquerré Gallery. Matanzas.
Expo-sale of the AHS together with the FCBC. Art Gallery: Space 34. Varadero. Matanzas. 2014.
2013 Expo-sale of the AHS together with FCBC. Art Gallery: Art, sun and sea. Varadero. Matanzas.
Convergences. Tuxpan Hotel´s Gallery. Varadero.
2011 Mixtures. “Pedro Esquerré” Gallery. Matanzas.
2010 Dreams of Matanzas. Tuxpan Hotel´s Gallery. Varadero. Matanzas.
Young artists expose. Uver Solís Art gallery. Jovellanos. Matanzas.
2009 Open Gallery Project (permanent Exhibition) University of Matanzas “Camilo Cienfuegos”.
2008 Exhibition of abstract art. “Pedro Esquerré Gallery. Matanzas.
Exhibition resulting from the Design course 2007-2008. ACAA Matanzas.
2003 Homage to oblivion Itinerant Project. Collective of Plastic Artists from Matanzas. Cultural Center at the “University of Matanzas.”
2002 Three lovers and one love. University of Matanzas “Camilo Cienfuegos.”
150 bristol boards to Martí. “Pedro Esquerré Gallery. Matanzas.
2018 XXIV Edition Visual Arts “Roberto Diago” Salon
2016 Winter Salon. UNEAC. Matanzas. December.
Small format Salon. Bazaar Gallery. Genesis. Matanzas.
. Pirates Festival. Fire Island. New York.
Provincial Event of Plastic Arts Roberto Diago Querol. Matanzas.
Young Art Salon. Martha Machado Gallery. Isla de la Juventud.
2015 Salon for the memory. Pedro Esquerré Gallery. Matanzas.
2013 II Young Artists Salon. UNEAC. Matanzas.
2012 XVII Landscapes Salon “Leopoldo Romañach.”Art, sun and sea Gallery. Varadero.
2011 II Provincial Salon of the Hermanos Saíz Association “Yoel Peláez. “Pedro Esquerré” Provincial Art Gallery.
Young Artists Salon UNEAC. Matanzas.
2010 XX Provincial Event of Plastic Arts Roberto Diago Querol
XV Landscapes Salon “Leopoldo Romañach.” Art; sun and sea Gallery. Varadero.
I Provincial Salon of the Hermanos Saíz Association “Yoel Peláez”. Pedro Esquerré” Provincial Art Gallery.
XIX Provincial Event of Plastic Arts Roberto Diago Querol
2009 Landscapes Salon “Leopoldo Romañach.” Art; sun and sea Gallery. Varadero.
2007 “Until the victory always” Salon. ACAA. Matanzas.
V Provincial salon of painting and sculpture. Matanzas.
Scenography designs for stage productions.
2015 Designs for the first gallery of Living Statues belonging to the theatrical project ESTUARIES, belonging to the Office of the Matanzas City Curator.
2012 Scenography designs for the play ANTÍGONA. Author: Yerandi Fleites. Theater group: THE SLAM.
2011 Scenography designs for the play FOR PLEASURE. Author: Abel González Melo. Theater group: THE SLAM.
2016 The bearded cayman. #390.
2015 Anhedonia. Matanzas Editions.
. In contrary direction. ALDABON Editions.
2011 The green altarpiece. ALDABON Editions.
. Matanzas Magazine. Matanzas Editions.
. The flight. ALDABON Editions.
Prizes and Mentions
2018 Creation Grant in “Roberto Diago” Salon
2015 Prize of the AHS in the National Event of the Visual Arts VISUARTE. Cienfuegos.
2013 Prize of the FCBC in the II Salon of Young Artists. UNEAC Matanzas.
2012 Recognition by the Provincial Council of the Plastic arts for the Day of the National Culture. Matanzas.
Prize to the best scenography design. International festival of theater Elsinor 2012. Superior Institute of Art. Havana.
2010 Mention ARTEX XX Provincial Event of Plastic Arts Roberto Diago Querol . Matanzas
Mention UNEAC XX Provincial Event of Plastic Arts Roberto Diago Querol . Matanzas
2004 Medal awarded for the design of the logotype that identifies the University Cup of Fut-Sal “Fabio di Celmo”. Matanzas
2003 Mention at the contest “YOUNG SPARK”. Havana
Works in governmental institutions (institutional collections)
Government’s Palace. Matanzas
House of the Letters “Digdora Alonso.” Headquarters of Matanzas Editions. Matanzas.
Hermanos Saíz Association. Matanzas
University of Matanzas “Camilo Cienfuegos”
School of Medicine of Matanzas
Staff of the Military Region of Matanzas
Policlinic “Carlos Verdugo.” Matanzas
Social Workers’ School “Miguel Sandarán.” Jagüey Grande. Matanzas.
Military School Camilo Cienfuegos. Matanzas
“La Vigia” Pub. Matanzas
War Veterans of the Cuban Revolution Association.
Housing Office. Matanzas.
Provincial School of Ai Ki Do. Matanzas.
Works in private collections
Private collection of José RamónTravieso. Art Collector. Miami. United States.
Private collection of Alex López Viejo. Art Collector. President of the travel Agency INTERPLANER. Washintong. United States.
Works in state collections
Permanent collection at the Museum of Art of Matanzas.
Critical analysis of his ouevre.
In front of a painting made by Adrian we can perceive how he looks inwards and not to his surroundings, to allow us to see his impressions and emotions. What we see, therefore, is not an isolated object, neither a group of objects, but the cultural essence and aesthetics of a place that beginning from his mental elaboration, he has showed us to see our environment with different eyes…
JOSÉ RAMÓN SOUZA OJITO. Words to the catalog of the personal exhibition IT IS THAT WAY IF IT SEEMS THAT WAY. Matanzas 2009
Dedication, concentration, knowledge, steady pulse, impeccable cleanness, is this what characterizes Adrian Socorro’s new exhibition, where the artist proposes us, invites us, suggests us, a double reading of which we will obtain multiple interpretations, even starting from his…
LIC. IDÁNEA ALVAREZ. Words to the catalog of the personal exhibition OTHER READINGS. Matanzas 2010
…on it, a young artist of Matanzas´ visual arts, brings back, to the bridges of this city- his city by birth right- in new ways that don’t stop singing a special laud of colors and compositions according to the tone of the present artistic moment; Adrian Socorro´s PARALLEL STORIES don’t lose sight of the fabulous legends of these “crossings” or “runways” that come up -from its own annals in documental and literary sources – to any material for the beautiful forms of its realizations. Socorro doesn’t make these constructions the main character to, but rather takes them in details of denoting imprint – for a disposition that hoist the design like a visual weapon of evident presence.
LIC. ANTONIO FERNÁNDEZ SEOANE. Words to the catalog of the personal exhibition PARALLEL STORIES. Havana 2010.
In his pictorial exercise, Adrian Socorro deploys certain expressionism, projecting the grotesque and imaginary. In its composition he uses lines that vanish themselves until they transform into vestiges of structured shapes, those that articulate his sensorial and representative restlessness. In this sense, Socorro transmits us his thoughts about the ephemeral, of the insular and the voluptuousness that relates them. The constructed figurations, leave from the aesthetics of the sketch, strategy that allows his characters adopt landscaped forms. To achieve it he makes use of colors that configure a sort of harmony between his message proposal and what is plastically conceived in his artistic production, which has reached features that characterize him. The black as the prevailing color and the white as support, provide character to his work, although the use of red and its different shades stand out visually some of the author’s communicative aspects about his idea on the fragile, delicate.
LIC. YOÁN ÁLVAREZ. Words to the catalog of the personal exhibition SHORTCUT. Matanzas 2011
Adrian Socorro’s figurations transcend their contours to reach another dimension. Two realities wrap the pieces: the dream and the poetry. Although the oneiric is a starting point, an idea that swarms and then it jumps; it is also an accompanying element of the figures. The poetic, on the other hand, doesn’t limit itself to magic. It feeds of the search that becomes discovery and revelation. The artist puts one condition alone: the soul to skin flower and the intelligence opening its doors in each moment.
LIC. ISRAEL DOMINGUEZ. Words to the catalog of the personal exhibition FLOWERS OF APRIL. Matanzas 2015
In the middle of a leap of pure, optimist and suicidal faith, one could find the bird-flag or the winged flag that in the work Free Fall, which names the artist’s sample recently inaugurated in the House of the Creative Youth of Pinar del Río, rushes crumbling towards a vortex of unpredictable future or frustrated past. Perhaps he desperately approaches a worm hole from which he could emerge lusty to a new dimension of reality where the persecution of the utopias takes him somewhere where all arrive at the islands and no-one leaves, and the water everywhere as a blessed circumstance.
LIC. ANTONIO ENRIQUE GONZÁLEZ ROJAS. Words to the catalog of the FREE FALL personal exhibition. Pinar Del Río. 2016
The jungle of sugar becomes a proposal of the artist Adrian Socorro. His painting not only recaptures the pure view, but rather it moves towards other symbolic edges of our history, discovering in it the eminent commercialization of the symbols, as well as the remains of a death. His position as an artist and his style are consecrated to oppose our senses, at the same time that it undoes the logically impossible. He gets himself into mining our perceptions converting them into a sort of dream where we cannot infer colors. His proposal would be, therefore the one of inciting us to understand a reality transformed by the ludic, the unreal…
LIC. DANIELA CAPOTE REY. Words to the catalog of the personal exhibition THE SUGAR JUNGLE. Matanzas. 2016
Adrian Socorro is, besides a versatile artist that can move through techniques and formats very dissimilar, one of the most restless creators that I know in the convulse scene of today’s visual arts. His poetic perception of the environment seems to always be opened, always ready to undertake new challenges, new absorptions. But also the reading of poetic, narrative texts, etc., will motivate that propensity to put in images his readings, always intelligent and creative, from very personal perspectives.
ALFREDO ZALDÍVAR. Words to the catalog of the personal exhibition ON BEHALF OF SOCORRO. Matanzas 2017
The limits, the militancies and creeds were abolished, in the picture of the last two decades of the XX century and so far in this millennium in the aesthetic field. The coherence is more restrained to the land of ethics; although in the formal aspect it constitutes the fundamental base for the artistic and intellectual growth of the author. As an attitude it helps him to develop the investigation-creation process that emanates of his contact with reality and the way in which he reflects his concept of it.
Coming closer or distant of Adrián Socorro’s work to contemplate details or to embrace the whole pictorial surface with the sight, is a double fruition exercise. Two different experiences of pleasure are mixed on it, the one that is born of the strictly sensorial thing and the associated to the playful nature of art and its dialogue with the perceiver. Include you the individual and collective cathartic connotation by which are released the knots that grips the conscience.
When the artist concentrates more on what is said than on the way of expressing it, some formal categorizations such as “neoexpressionism”, “bad painting” are useless. Because for the moment he can use Goya’s forms, like those of the Villa of the Deaf, in order to put in first plane a kind of involuntary heresy of the man who was “punished” for being “Hero”, he summon the inquisitors and show how “Saturn devours his children”. The image is almost compassionate and it differs from the other compositions that pose new visions of old fetishisms and false apotheosis and bring him closer without premeditation to artists such as Edouard Buzon and Jacek Gaczkowski.
The palette is restricted to the primaries colors, the occasional secondary and grays and blacks, depending on the piece. These possess a specific weight from pictorial or subjective connotations which Adrián chooses by his own pleasure, the plastic value or the meanings that have been coded in the social practice. Object, color and idea, find in the titles the necessary complicity to guide the perception or leave it open to all possible interpretations. After all, a “painting” will remain a “painting”.
Sarcasm and jeer are shaken hands seriously for talking about daily problems with a strategy that privileges the trope, the polysemy, or the direct, naked images. Momo and Eros enter and leave a “scene” of which the spectator actively or passively participates as a receiver and part of the dialogue or as a voyeur. It is like a showcase that the public seems to contemplate from outside or as if it is immersed on it. It looks like the film resource of changing the narrative point of view according to the plane in question.
The genres are disrupted or recreated. The landscape becomes allegory, the human figure in still life and the still life in metaphor. But suddenly, the extremes of violence and isolation, of the fight for subsistence, to reach a coveted status, are transformed into a oneiric universe, in the poetry of the bad girl astride the fish and with a plant in her hand. The eroticized puberty of the “chocolate factory” has left a drop of hope for childhood innocence in the middle of the batey. The creator finds a light at the end of the tunnel and he points out it. He not only orders to follow it, but he makes everyone responsibles of her future. That is the clay, it lacks to model it and to cook it. The seed of the utopia is in the world.
Carlos R. Escala Fernández