The graphic story, told as if on a movie screen with a sequence of images that transmit the alternatives and incidents of the plot, has allowed each time it has been used, to widen the historical and social knowledge of a people, its deepest customs and the events of the milieu in which it develops. Socially, it fulfilled the function of bond and transmitter of ideas of popular content that stake a claim for the more urgent rights of the masses.

Such are the examples revealed to us, among others, by Guaman Poma, the graphic chronicle of the time of the conquest in the Peru of the Incas, the 'Skulls and Corridos' of Guadalupe Posada of notable influence in the peasant revolution of Mexico, and the series of woodcuts of Frans Masereel, that tell us the story of peculiar aspects of popular life with sharp traits and incisive critique.

The language adopted in these woodcuts, created between 1952-1953, obey this concept and are primarily destined to free the mind from impositions that restricted the free expression of thought.

The images rescued from time and oblivion through roads traveled by reality and dream, move themselves in that climate of anguish and uneasiness which is characteristic of the gist of the matter.

Visual forms adjust themselves to a sense of synthesis according to the interest, the interpretation of the theme and the role of the characters.

The subjects invoked, which account for these woodcuts, made it impossible at the time that they should be published. As time passed and my plastic concept became different, I considered that publication was an indifferent matter, lacking interest and outdated.

It was Albino Fernández who made me realize the importance of this effort that sums up the labor of a period of my engraved work and who took it upon himself with love and dedication to assume responsibility for this edition.


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