Sensitivities such as Héctor de Anda's expand when their needs of expression are satisfied beyond the pragmatism imposed by other careers—modeling, acting, photography and fashion editing in his case. The plurality of his taste has found in art its most personal, private and abstract definition, in a domain free of the lucid purification of the different visual orders implicit in his, so to speak, mundane work.

His work falls in the area of the lyricism of matter, that hiatus in art that Dubuffet, Burri and Tapies exalted during the last century, and opened as a spiritual route to be exploited by subsequent generations. Other perceptions and notions of the signs of matter pertaining to the picture conceive it as a form of physical transformation, as fortuitous and complex and that of the spirit. Through his experience of the phenomenon, De Anda launches his own concept of the sensory evolution of the surfaces of things; thus marked fences, messed up floors, old skies and maybe abysses of rugged bark are instinctive materializations catalyzed by imagination. And just like imagination they involve mysteries, dynamic conformations seeking a tangible equilibrium. Their colorful content—usually just one gamut enriched by minimal contrasts or highlighted by random graffito lines—stimulates the casual meeting of surfaces that, as the action of time and the elements on matter, are unpredictable. De Anda lets them be, or else contains them according to his moods. Also, when they suggest a new exploration it is because they were once in touch with the world of recognizable shapes—human or other—that would make of spontaneous abstraction a possible anecdote, a representation.

Toiling with the abstract, parallel or practical and concrete has bestowed upon De Anda a knack for communication both with matter and the outside world. His paintings have surpassed the taste for taste to allow the flow of his real emotions.

Luis Carlos Emerich