Ernesto Helinger
Ernesto Hélinger studied from 1980 to 2014, with different artists, highlighting his time in the workshops of Carlos Orozco, Amalia Rodríguez, Ernesto Arreola, Javier Campos Cabello, Carlos Nakatani and Raul Oscar Martínez among others, and Concha Márquez in Madrid, Spain.
The work that Ernesto Hélinger has been developing is mainly based on two series, on the one hand, a first series of figurative and decorative character appears, which is linked to the Mexican pictorial tradition of its historical avant-garde, that is, Estridentismo that developed between 1921 and 1927 and that came to take elements of cubism, with a certain irreverence and tendency towards gigantism, and incorporating expressions from popular culture. Among its precursors were attached to the movement, Diego Rivera, Fermín Revueltas and Xavier Icaza, among others, who were followed by many others in successive generational waves, until the present day. However, in these chained promotions of artists, the cubist style was changed by naïve construction or expressionist alteration, and the initial popular demand was transformed into a folkloric atmosphere or an exaltation of the native.
In this sense, Ernesto Hélinger’s series, which takes close-ups, flowers and plants, has that substrate or root that has been discussed, so typical of many Mexican artists.
This promising author
is developing another series, more recently, that becomes much more interesting, since, distancing himself from the aesthetic continuity of Stridentism, he relates directly to the aesthetic problems of his time,
making contemporary and current creative flows more appropriate, where while maintaining good pictorial work, a vision of technological or scientific tint is incorporated, which allows us to represent scenes that could well be typical of the macrocosm or the microcosm, thereby making an effort to bring the other realities that are adjacent to us closer to that of the human being.
The style with which he executes this new production takes from expressionism, in terms of pictorial treatment, but also from geometric art in terms of treatment of space and formation of themes