“The human being inner life is a vast and diverse realm.”
We find that three aspects underlie the work of Leticia Sánchez Toledo: what´s philosophical, mystic and spiritual conceived in its real milieu. The spiritual matter as an essential necessity; the others for her interest of overflowing thinking until registering a constant, persistent, centered questioning in the ins and outs of human existence. Her works show her characters in a milieu charged with images. The human, sensible, inherentlyinternal matters are discovered in that appropriate and thought space; because, as it expresses: there is no better scenario for art that nature itself.
The young Cuban artist offers a thorough register and bets to know how to place that element of surprise which achieves an obvious psychological impact on the viewer. By leaving imagination free, one can follow the trace, millimeter by millimeter, from that palpable and real space at one’s sight. A considered proposal, with a benchmark that fits seamlessly into hyperrealism and leads us to lively spaces that constitute pure pipe dream.
In her work she develops a language of symbols in a premeditated attempt to make the viewer questions before the canvas and so seeks answers; but in this fantastic game she also manages to impregnate herself as a tireless observer. We observe timely and significant references about the ones who have expressed their admiration: as the British Lucian Freud; American Andrew Wyeth, Edward Hopper, Winslow Homer and John Currin; and the Cuban Julio Larraz.
For example, from the painting of Lucian Freud, that leaves no one indifferent and is known for his hyper-realistic portraits and nudes, we discover in the paintings of Sánchez Toledo her influences on the use of animals. The same goes for Andrew Wyeth, considered as the painter of people or of persons and who was part of her works: the land, landscape and people of her region. He, at the same time, admired WinlowHommer, a naturalist who developed a naturalistic painting reflection on nature and its relation to man . John Currin is characterized by a figurative art of a novel aesthetic, full of irony . Edward Hopper embraced the crisp, clean painting, organized in its composition; while Julio Larraz gives his characters that double reading that Leticia recognizes in their work , as well as what’s figurative and cartoonish . I take the liberty to assess the influence of the conspicuous Belgian painter Rene Magritte, whose style and intention, his “magical realism" has clearly influenced the personality and conceptual expression of the artist.
The works of Leticia Sánchez Toledo catch, commit and touch sensitivities to make the observer complicit and part of it because with her gaze she reflects reality in a series of images that are characterized by that simplicity full of doubt, poetic feeling and figurative vision, elements that precisely captivate her about artists he admires.
In her speech one can feel the obvious concern for human existence. In this way she raises her own doubts about what we are and what we can do, assuming it as something that arises from the very first time she had a memory to recall things. That condition becomes a constant in the reconstruction of memories and feelings that guide her through a path into the unknown. It should be mentioned that being her mother and her brother artists, and interacting with others at the same time, she grew up touching tubes and brushes, discovering that painting would arise from her inside, a condition she assumed professionally as default target.
Her most recent works focus on the human figure, without neglecting her concern for the unavoidable pass of time, seen by the artist as the opening of a big window where the viewer can navigate through narratives expressing the vulnerability and mystery of existence. As she works with various styles, she explores several materials and possibilities that go from the traditional to the digital, reflecting also her interest in illustration. Beauty, nature per se, irony becoming image, all combined , reveal us her narrative force, cradled in figuration, consciousness, I'm sure, will never leave her.