María Luz Cárdenas.

Curator and Researcher of Contemporary Art

“The work of Reymond Romero has a starting point – apparently simple
– in the use of thread and color. But underneath it is woven a complex strategy of resonances and affective associations, pictorial, conceptual, mythological, aesthetic, poetic … that activate different levels of sensitivity in the viewer’s perception and move it in many directions and in many dimensions. The yarn becomes weft, the weft in texture, the texture in a text, the text in landscape, the landscape becomes body, warp of lights, layer of fabrics, stripes of pure color. There the traditions and the ancestors of the image are conjugated, there is also the primordial painting. And there is the way nature is organized in branches and nets, there is the tree of life, the neuronal tree, the spider web, the constellations, the traditional textile tradition, cartographic constructions … Painting finds fullness in the extra -pictórico-in the thread, the threads, the skeins. The color is brutally imposed
– from within, with a unique strength and body. Without theoretical impostures, it goes straight to the experience of color as a non-physical process, but textural.”

Sandra Pinardi.

Ph.D. in Philosophy

“The works of Reymond are encrypted” things “, in which the material, in the very plenitude of its textural and chromatic presence, is arranged for a form – a sense – that suggests without concluding, without closing and that, therefore, Is there asking us to participate in a game, the joyful game in which you can find the look and feel, a game for sensuality. Those shining and seductive colors, those textures that claim tact and closeness, make up objects that tend to appropriate the space always beyond the specific place they occupy, and which present themselves by anointing ourselves with a caress, contact, immediacy, approximation.”

Daniel G. Alfonso.

Theorist of Art (Cuba).

“Romero uses the thread not as an escape route but as an element that allows him to create excellent works of art that generate in the spectator dissimilar sensations and states of mind. The thread, as raw material, contains great significance for Reymond Romero, through him he investigates in the perspective of color, its degradations, its contrasts, the movement inside the painting and the great chromatic possibilities that can be created with its main tool of work. His works, inviting to the touch, seduce to the observer public who in occasions questions the duality of the piece. Are we in the presence of a two-dimensional or three-dimensional work? The artist knows how to play with the sensoriality of people. As he says, the thread allows you to create a whole range of colors; Combining them (Polychromic series), overlap (Pictography series), crosses them (Monochrome series), weaves (series Chromatic points), a whole set of elements that give their work a distinctive chromaticity. It also exhibits new ways and uses, qualities and results of how to achieve a unique coloration and shows that with the yarn you can create visual fields indefinite and infinite in both their variations and their possibilities.”

Luis Pérez Oramas.

Curator of MoMA Latin American art.

“Reymond Romero is the best colorist of his generation. And it is beyond the painting, which Romero does not seem to practice, but at most, through the seam. But it is also, at a time when an assertion like this I can act as a figure of irony. His work is undoubtedly echoed by a tradition of color. I think it is worth stopping in this aspect because it should take us back and back to the traps of the fabric, to the threads of the image. “

“His work echoes a tradition of color. I think it is worth stopping in this aspect because it should take us, again and return to the traps of the cloth, to the threads of the image. “

Alberto Asprino.

Curator and Researcher of Contemporary Art

“The work of Reymond Romero is detached from the form to give way to the optical illusion, achieving that the work itself is not concluded, is left open for more experimentation, to seek more connection with the viewer. The other space, the one that embraces the work externally, challenges it head-on, to allow its proposal to go beyond the pictorial plane that contains it materially.”

Lorena Gonzalez.

Curator and Researcher of Contemporary Art.

“When you visit the artist’s workshop, a strong impression shakes the eye of the one who enters there: thousands of reels of yarn of different colors abound in all angles of the place, while the series and objects already made wait, move between the Projects that still breathe in the area, look at the distance and with serenity the new north, warn the conclusion, the essential diversion that will lead them to inhabit the hidden vibration of unusual dimensions. The thread is everywhere, is the main factor through which Romero has endeavored to bring to term an unknown surface of color: sensory fields that rather than refer to a formal problem, seem to be located in the uncertain meeting that demand, Silent reflections that although they touch direct relations with the lyrical abstraction, the action-painting or the Kinetics, in fact, they rise like structures inoculated by the suspended stories of a latent story. To the color Reymond it weave, it gives the past and a future, it returns presence and absence, depth, beginning, and disappearance. Whether from the geometric forms, the seriality of a pattern, the alternation of the figure or the poetics of chaos, in each piece this creator confronts us with the fiber of a potential narrative, a coming conclusion of something beyond color, Remains to be seen.”