surprisingly mature and mastered, conceived with architectural
purposes. A great sensitivity and formal invention as those
proved by Crespo Rivera are necessary to avoid a mere decorative
or frozen result. Precisely, his sensitivity and invention are
the means to an art which is both serene palpitation and magic
Rivera’s work is a serious and responsible proposal of
an art intended to silently introduce us to a different aproach
to humanity, with no pretension of dishumanity, as some might
Crespo Rivera, must be recalled among the most remarkable sculptopainters
at the current Spanish artistic panorama”.
Crespo Rivera masters sculpainting in its purest state. His
sculptopaintings made in wood with an uniform colour are characterised
for their postconstructivist rigour and geometry, along with
wide spheroid surfaces allying serenity and plasticity. Pure
muralist, waits, as many other sculptopainters of our times,
for the architect or the urbanist able to insert his work in
a convenient atmosphere”
Rivera’s work has an architectonic vocation, providing
through a depured technic controlled feeling and latent emotion
shaped in absolutleness vocation”.
de la Hidalga
is not my pretension to establish a comparison between both
artists, - I am refering to Rueda and Crespo Rivera –
but the appointment
is inevitable and makes clearly evident the category of Crespo
Rivera, who can
bear being compared with such a famous master of modern art
without loosing his neighborly and criteria".
J. J Castro
is about poetising, plasticly musicalizing, seeking its specific
rithms to geometry, armonizing and confronting it in combining
games. There is no anecdote in this sculpture, but action, and
everything placidly exposed, with its rythms and blood excitement.
Delighting for its gravity and composure ".
de Castro Arines
Rivera´s will never be rythmless. They have been conceived
for being proyected in the space and getting rid of every sensation
J. R Alfaro
absence of the anecdote – why should art need anecdote?
– is excessively compensated in Crespo Rivera´s
work, with something even more meritorious and difficult: action".
understand these sculpaintings as a mere abstract transcription
of the surrounding architecture would be erroneous, obvious
and superficial. The one connection betwen Crespo’s work
and the envolving romanic landscape is not the physical meaning,
but the will of order. By the means of abstract forms, the author
liberates his work of symbolistic intentions. Extracting from
them the deep satisfaction that results from the perfect equilibrium
of concluded forms”.