The work of Rafa Forteza, adopts the objective forms inherited from the tradition to verify the reactions and the effects that they provoke in their interior, leaving them to act and merging in them. Circles, round spots or abbreviations are shown on the surface of the canvas. Formally, the strength of the artist's works comes from the tension between the horizontal and vertical lines, on the one hand, and the extensive squares, on the other. The forms with clearly determined dimensions, whether closed or open, attract a lot of attention, attracting the gaze to their interior and sometimes even to some place beyond themselves. The fundamental tension of these works resides precisely in this relationship between the line and the surface, between the center and the periphery, gravity and weightlessness, between the intersecting and intersecting lines. The intersections, which sometimes appear in several layers, point to the mysterious, to the unknown. At this precise moment the works of the artist take on meaning, because they set in motion not only the imagination of the observer, but above all the observer himself, as long as he approaches the tension and allows himself to be invaded by it. When this happens, the observer is forced to go around the work in search of an enlightening perspective, and therefore to devote some time to observation. When she leaves her reserve, she ends up relating to the work through her movements, and finally she identifies with it.



Therefore, we are facing a complex semantic field full of nuances that links with the subtlety of the works of Rafa Forteza. Approach and distancing are an integral part of these images, which arise in a coherent dialogue with the observer. It is usual to distinguish between open and closed faces, that is, between those who freely expose themselves to observation and those who remain locked in themselves, provided they are not exposed to an attentive and merciless gaze.


Forteza advocates starting from an introspection that leads to germination, through which one will see that there is something that one does not know about oneself. There is the plastic pictorial draft of many of his works, which reveal what basic elements, earth, fire, air, water, will show how they have molded that non-transferable seed that is each, but that It is not because of introspection.



In these works begins to build from within; we must not perceive them from the outside, because of their analogies with our perceptive habits. The elements that he composes in his works emerge dynamically from the holes, from the voids. You can not proceed to see them statically, as masks, made, made. It is necessary to orientate the attitude not only of the one who does the work but of the one who contemplates it, because while it is not prepared to observe it, it looks for culture what it already knows of what it sees, what it is necessary to do is realize that the work emerges from itself, from its different nuclei of force, which imposes a dynamic vision, which is the only one that can reveal the meaning and dimension of the work.