This essay by the Venezuelan artist born in Catalonia, José María Cruxent (1911–2005), is a first-hand report in which the artist gives intense expression to his creative experience. It is included in the catalogue for the exhibition held in 1992 at the Museo de Coro: Homenaje a Cruxent. Siglo XX: El Hombre, Cultura y Desafíos, which was the artist’s last exhibition. The main concept addressed by Cruxent is that of “freedom,” by which he means “creative freedom” at the moment of conceiving a work, as well as the feeling of “freedom” he gets from the finished work. The essay serves as a response to several criticisms formulated against his work. Preceded by his reputation as an archaeologist and scientist, Cruxent often had his work classified as a product of his scientific work. Here, he seeks to show that he is not only a scientist, but also an artist; that is why it is unimportant to him whether his work is accepted or not. He does not “create” his work in hopes of recognition, even if he would be able to do to do so, but rather to meet his own needs for expression. The artist would never agree to sacrifice his creative expression to satisfy other people’s tastes. In spite of his influence in the Informalist movement in Venezuela in the 1960s, Cruxent is clearly pleased that it is difficult to slot his work into any particular art category. This text has great historical value; it is essential to an understanding of the artist’s concept of “art.” As an archaeologist, Cruxent wrote a great many texts; this is one of the few written exclusively about his artistic creations.
[Regarding the artist’s work, see the ICAA digital archive: a biography written by María Luz Cárdenas “El hombre que sabe leer la tierra” (1153744); an essay by Alfredo Boulton “J. M. Cruxent: Obras Recientes,” originally published in 1971 by the Galería Champs Elysées in Caracas and later, in 1973, by the Sala Mendoza (1153711); and a text by the curator Adolfo Wilson “Realidad vs ilusión: la obra de José María Cruxent” (1153760)].