The current exposition gives away sutile, but significant variations, in Navarro’s work. However, some restlessness still remain as a constant of his pieces, such as his on going concern for the human figure, the self-assurance in color management, the generosity of his loose, opened and bold strokes, and that indiscrete look that allows us to enter the psiquis of his peculiar characters. These last seen, almost always, in ambiguous circumstances and enigmatic expressions, natural environment in the work of the artist.

The treatment and selection of new topics, and specially the decision as a manifest of and conscious of inspiring itself in known pieces of art history, make eident on of the uneniable strngthsof the artists work: The capacity to continue exploring expressive ways and developing new posibilities, in one plastic language that distiguishes itself in a strong and personal __. A piece that regardless of the vehemence of it’s speech, does not seize to seem candid because of the truth of the statement of it’s subjects and by the closeness that it shows to each one of us. The artist does not forget the pact of complicity that fullfills with the spectator in each cloth.

Amongst the pieces that Navarro interprets, “DURMIENTE” (“Sleeper”) stands out, inpired in “EL NACIMIENTO DE VENUS” (“The Birth of Venus”) from Alexandre Cabanel, in which our artist takes up a language full of unusual lyrics in his work. The mythological Venus from Cabanel is thrown out by Navarro, making her a mortal woman of pearl like tremulous skin and unsteady sleep, levitating in an unequivocal space and full of ambiguity, characteristic of Navarro’s work.

“ULTRALIVIANO” (“Ultralight”), inpired in a characterof Luca Signorelli’s fresco “LOS CONDENADOS” (“The Condemned”), again he takes up an unsteady unequivocal space where the figure seems to precipitate over a backgroung of clouds working on a overplaced plane. This background, he makes by bringing together two fundamental resources that the artist always uses loosely. On one hand the careful management of color, standing out by golden details that lighten up, give depth and volume. On the other hand, the texture effect that adds drama to the general impression of the piece.

Sandro Botticelli, Egon Schiele, Signoreli, among others have been an inspiration to Navarro to reinterpret and create with his own resources, printing on each one his personal characteristic.

Completely recovered from a certain blindness he suffered from during a couple of months, we can’t comment his new work without noticing the new value of the optical resourcesof his work, specially his renewed interest in detail. “BALCONEANDO”, “LAS TRES GRACIAS”, “REINA DE CARNAVAL” y “LA SIESTA” they vindicate in his bold pallette the importance of color and complex texture in his pieces. This is an aspect intimateley linked to the proocative selectionof his characteristic topics. The natural irreverence of the artist towards coventionalism, results as a risky management of shape, perspective ad composition elements that allow the truthful expression of the artist.

“ENSILLADA”, enigmatic character that seems to try to decypher the mysteries of the close darkness that surround it, it seems to summarize - if it could summarize - the fear of the artist towards a world without light, shape or color. Alone on a couch, the myth woman, the enigmatic character, goes deep inside the secrets of the shadows and confronts by herself the mystery of nothingness.

In this new piece, maybe the most personal and close until now, Eduardo Navarro allows himself to run through the ways of the greatest teachers in a come back journey to himself, in which he opens up our eyes to the parallel world of dreams, myths and shadows.

Angeles Ramos Baquero
Historian and Art Critic