Insolently inquisitive. Neuronal, but in the long run, persevering in insolence. All that is seen in narrative writing is, as it was in Boccaccio, a pretext to launch into the red adventure of self-questioning or self-pondering.

It is no coincidence that Joaquin Badajoz presented us in his words the author of “Burning in His Own Hell” as a sort of postmodern Dante. One would have to speculate whether the invocation is more comprehensive. For if the thesis of Eduardo Sarmiento was limited to Mephistophelian introspection of human nature, the equation is valid. But along with it, as it happened when Botticelli needed to comment the on the “Nastagio degli Onesti”, in Sarmiento’s “evocation”, there is also the consensus by lyrical decree and humanistic content, the ego-poetic contributions of Dante and of Petrarch.

Sarmiento satirizes the historical order of human passion. He does so without taboos or prejudice, because it is precisely with this lack of freedom he polemizes. Or for better words, he confronts us with cynicism, which is perhaps the brazen quality that can effectively clean up the mind poisoned by centuries of hypocrisy. Assume in each of his images, episodes of endocrine dramas which are unleashed in the privacy of the subject. The self Hell of Sarmiento is an incinerator of coexistence vices and social repressions. Fed by vernacular fires which burn moral debates about sexuality and its emotional superstructure, confronted with the responsibility that one must initiate the fire.

He presents the work formally from a naive point of view between the legacy of Fauvism and sub-subtropical heretic symbolism. Perhaps with some primitive inland sarcasm vaguely reminiscent Feijoo of Villa Clara, Cuba hand mixed with the presence of Dali’s erotic dreams. His intense saturated colors, although high in temperature are not classifiable as Caribbean. They are tinted by the postmodern estrangements which today makes ambiguous the territorial affiliation of artists. The palette (or graphite) is stripped, dissimulating evidence of identity and plurarizing his discourse. Although he can not restrain certain instinct to vignettize, Sarmiento takes risk and jump on the repeated practice of design, deciding to get involved in painting. He is endowed with the pulse for it, a sense of color and subtle industriousness in the skill of insightfulness.

On the “cartooning” one would say it is the action consistent with a playful vision of his personal biography. For Sarmiento, the pains or dark areas of the human profile appear not in opposition to the way towards the light and to cheerfulness. His incendiary moral demonstrates a caustic and mischievous attitude, convenient for redressing life. Otherwise, his exorcist pending demons would consume him.They would gobble brushes, brain and viscera as well as the neat Parisian appearance of the artist.

Jesús Rosado

Miami, June 27th, 2010