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Only La Nada as starting point
can explain the vigorous sbtlety in which armament, brocade,
and shawl are reincarnated in Pavon's tapestry. La Nada as point
of departure does not in any way negate the other origin, the
one having to do with geography. On the contrary, it confirms
it. Despite the cluttered background by which we identify all
that is Cuban (palm trees, music, black deities, broken-off
pieces of architecture) La Nada has been since the beginning
of time, the most enduring tradition on the island. Both history
and manner of the nation have ensued the successive symbolic
and material destruction of previous life on the island. Nothing
seems to indicate that this is about to change. Pavon's La Nada
could therefore arise due to more intimate reasons, both generational
and personal. These two factors alienated all that set foot
upon and touched. Being exhiled has only managed to magnify
this alienation.
La Nada has thus become his natural
state of being and turn, he has become accustomed to it as nature
itself. To become comfortable with it is just a saying: La Nada
is also alibi and starting point for Pavon's art.
Enrique Del Risco
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