The Linnet's Wings Summer 2014 - Page 84

Almuñécar, Granada, 14 de mayo de 1928) There was a queue of people at the door of the Sale de Expositiones de la Casa Condesa de Torre-Isabel when we arrived for the exhibition launch on a warm evening in early June. Some idling, some waiting to get through, others smoking a last cigarette before they entered to hear the dignitaries speak in glowing tones of one of their own: An Andalusian, an Almuñecar man, now in his 80's, who sent the critics racing for their pens when he launched his first exhibition at the age of 16, which expressed his interest in submarine landscaping. My art teacher had passed on the official invite, the lovely enscribed and illustrated invitation from the La Alcaldesa del Ayuntamiento de Motril, which I was glad to get. Having attended some of their public presentations in the past I knew by experience the detail and polish that attended their affairs. However, just being an amateur artist and no critic, when I view art it is from a subjective perspective rather than an objective one. For what do I really know about the type of work that goes into producing and harnessing year in and year out a constant flow of creativity. So I consider myself as the person on the street walking through the corridors of someone else's imagination. Like most of you guys out there? And what a treat I had. I don't have to say here that Domínguez de Haro is a fine artist, for anyone with an interest in Spanish art will recognise his name, he's a man who uses his skills to paint and detail marine life, who uses his voice to display the colour, life and sound, to leave an artful reference and story of what we have, and what we have to lose if don't attend to our environment with better care. His colour, his detail, the clarity of his stroke ,and the tone of his voice invite one to step into imagination, to lift the undersea world into a daily mediation. "For nowhere either with more quiet or more freedom from trouble does a man retire than into his own soul, particularly when he has within him such thoughts that by looking into them he is immediately in perfect tranquility ..." Marcus Aurelius, —and De Haro gives one an alternative image to mediate on. At recepion on the way through, I received a neatly tied scrolll with a short bio and with a print of one of his paintings, ready for framing, and I also bought a catalogue of his work. What struck me on flicking through it there and then was his introductary piece: El Origen de la Vida, only painted in 2008,