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and quivering flesh of Lucian Freud’s nudes, just as dense and risky in their perspectives, and using oil fillers as a technique of choice He makes a lot of his particular style of expressionism, not without a large dose of melodramatic humour, albeit without rough edges; Schugurensky shows off an irony so carefully tuned so as to show reality behind the mask and the unreality of the manifest. He updates the classic tragicomedy by introducing sections of contemporaneity in their own expres- sions, on occasion amusing and sarcas- tic, apparently relaxed and trivial, with exquisitely existentialist subliminal mes- sages. He creates a pictorial discourse around ‘nothing is what it seems and what is seems is nothing’, I would say. He goes into great detail into the soul of each of the characters he paints in such a unique way, with daring but with respect, as shown by his wide collection of famous portraits of artists that in some way complete his gallery of the great masters, like Toulouse-Lautrec, Jackson Pollock, Rembrandt or even Freud him- self, whom he uses as spectacular im- ages to look deeper into his own identity. These portraits are spread around his workshop in a game of complicit or rep- robating looks, each accompanied by their own steps and reminding him what he is and what he desires to do, so that he doesn’t forget it. He cannot help to let his interest in the world of magic, illusion, fantasy, events, galas, parades, the world between the theatre wings shine through. All of this brings a freshness to his canvasses, a touch of candidness that purifies his gaze of any scruples, of any type of prejudice, flattening the visual terrain to suggest a pure, honest contemplation, like that of a child. Luisa Noriega inacabado, algo imprevisto, como un fondo, una sombra o incluso una cuadrícula. Diríase que postula una incerteza y la somete al criterio del espectador. Actualiza la clásica tragicomedia intercalando simpáticas porciones de contemporaneidad en las propias expresiones, divertidas y socarronas a veces, aparentemente desenfadadas y triviales, con mensajes subliminales exquisitamente existencialistas. Desarrolla todo un discurso pictórico en torno al «nada es lo que parece», diría yo. Desmenuza el alma de cada uno de los personajes que retrata desde un prisma un tanto singular, con osadía pero desde el respeto, como bien ilustra su amplia colección de retratos de célebres artistas que, de algún modo, completan su galería de grandes maestros, como Toulouse Lautrec, J. Pollock, Rembrandt o el mismo Freud, de los que se sirve a modo de imágenes especulares para ahondar en su propia identidad. Esos retratos se distribuyen por su taller en un juego de miradas cómplices o reprobadoras, acompañando cada uno de sus pasos y recordándole lo que es y lo que ansía hacer, para que no lo olvide. Tampoco puede evitar dejar traslucir el interés que le despierta el mundo de la magia, de la ilusión, la fantasía, la función, la gala, el desfile, el universo entre bambalinas. Todos estos elementos aportan frescura a sus lienzos, un toque de candidez que depura la mirada de todo escrúpulo, de cualquier tipo de prejuicio, allanando el terreno visual para sugerir una contemplación tan limpia y honesta como la de un niño. Luisa Noriega 107