Francisco Rodriguez’s painting is a kind of journey towards intriguing spaces and situations, sometimes dark and sometimes inexplicable; on ordinary and often impenetrable occasions.

Taken together, these works are unexpected narratives, like Japanese haiku, full of innuendo and ambiguous ellipsis. But it is not only in its significant projection that Rodriguez seems to establish his relationship with Japan; His solid color flat painting, his simple drawings and compositions also refer to graphic animations and Japanese drawings and to that tradition that inspired so many Post-Impressionists.

But his prolific work also encompasses and unfolds around complex narratives that address strategies and resolutions closer to films and to conjunctions between literature and his imagination. In many cases, his compositions are developed around these confluences, like paintings composed of several paintings, relationships and disjunctions that make up images, stories and spaces that combine to offer us a frieze of his vast imaginary.

It is about slowing down the process of that energetic imagination — which is undoubtedly reinforced in all those references mentioned — and making our experience of the work more open, and perhaps more enigmatic.

Octavio Zaya