Utrera, Sevilla1960
Tenorio offers a work of art, in fact realistic, that can be valued for its colours while actually described by the wise plastic economy he makes use of –paper clippings, sheet music, calligraphic texts, letters...- that, contrary to their multiplicity, they suggest an excellent and unified entire depiction. All these values are due to his expertise regarding both the quality of his drawing as well as the meaningful force of his colours.
Sketching he applies – often constructively – to create and configure subjects far from easy; colour appraisal combining dissimilarities while accepting the adjustment of the ever present lighting effects. Pictorial effects Tenorio changes into objective figurative alignments, to which he adds his casual sky and terrain definition: upper and lower gaps of the painting where the concept is defined by topics that, as stated before, similarly receive a realistic treatment. Very much the same thing happens with the collages he features: realistic units per se playing a role that breaks the materiality of his works.
The great dramatic strength of Tenorio's Works of art, along with an outstanding technique, allows him a personal construal before which the onlookers do not know whether to admire the masterpiece, the outline drawings or the colour, or rather yield to his collage perfection, which turns out to be another colour of his palette by keeping the warm chromatism of old papers (whether newspapers, sheets music, book pages ...) he knows how to perfectly assimilate into his canvasses.
An aggregate of urban themes architecturally resolved, example of paintings where feelings are not forgotten, throb with each brushstroke of the spatula and vibrate with human presence that, although missing, can be conceived in his oils by the power of imagination.
Go to the painter's exhibition
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