"The work of Paskua is wonderful : Expressionism became Cult. His very strong plastic
accomplishment is equivalent to the major modern and contemporary artists since his work
position itself in occidental art by testifying of the extraordinary antipodic culture that he integrate
in a very personal way that he teaches us to love."
Arnau Puig - Art critic and co-founder of the "Dau al Set" Movement with Antoni Tàpies
Paskua's paintings deal with the wilderness of his time and question about impermanence and
frailty of human condition in front of nothingness. His work that seems violent, bewitching and
disturbing ascends not only memories of the dark springs from his own crossed past but also
the past of any humanity. By confronting sacred horror of the immemorial loathes, his work
shares a common denominator with his illustrious predecessor, Paul Gauguin.
In these prerequisites that are hardly stemmed from chaos, the allusive forms of human or
animal body get mixed in residues of social identities as if marking the stencil with an iron. The
origin of darkness is driven by the latent possibilities of the man, history and civilizations.
Essentially even in this AD post-metaphysical contemporary, Paskua proclaims the time of
enjoying and of making enjoyment, the presence to the world and to the energy of body
incandesced of reality where the life does not get separated from itself, the art from the
aesthetics. The art of Paskua is not representation, but presence.
Like a boatman in open sea, a tightrope walker on the horizon, a traveler and a magician of the chaos,
Paskua builds his work under the terrifying shadows of a fatal fate and the casting light in the
possibility from sensual delight.
Paskua is "Tahua", the wizard, the Shaman, literally " the one who sees." His work transforms in
receptacle of the sacred as the Polynesians call " To' o." In the fraying canvas, it weaves the links
that allow us to reach the incandescence of the reality and to see " in things more than things "
as poet Arthur Rimbaud said.
