Maybe this could be the great secret of her work: a painting lost in thought, silent, almost whispering, that talks in a low voice, as if it talked to itself… It is like a dialogue with herself, in a quiet voice but asserting realities with the form and the color, or better, looking around with poet eyes and beyond the time.
In the work of Ileana Mulet (Holguin, 1952) there is evidently, a great dose of silence. All of us participate of the silence expelled from de objects and persons that emanate from her urban landscapes; a silence that invites us to the reflexion, to revive the dialogue established previously by the artist with the themes; a conversation almost exclusively of glances that advance through the time to approach again and again, to look at our city: Havana. A look which knows how to enrich with everything it sees.
Covered always in a monotonic light, without stridencies, a light that sometimes we don’t know from where it comes, but that it is always present in her paintings; the pieces of this creator reach the mysticism of a subterranean world and the passage of time, as well as those objects of the modernity converted in fetish with a high poetic and metaphorical content. To “taste” the most of the painting of Ileana Mulet, the space is another factor to be taken into account. And not only the space, but also the body as a matter, the sign, the sound and the silence that all of them produce, the memory of the reality they provoke. She organizes a plastic space with a personal code in order to make her destiny enter into her paintings. Without renouncing the sensuality and the sensorial ecstasy expressed in her pictorial work, the artist talks about the time stopped in the ancient constructions that her eyes catch during her travels around the city. Convents, clocks, churches, big colonial houses, constitute the eclectic sources which are been integrated to her formal conceptions and where codes, coming from inter-texts games, emerge. There is an unusual distribution of the light in focal zones that emphasize the singular atmosphere of her creations, and these phantasmagoric effects reached through a wise application of color and textures. They are personal landscapes, receptacles of light that permit to construct a space occupied by shades of color, where always the play of the paintbrush, the gesture of the hand, appear in a patent way.
This dialectics create tensions between up and down, the purifier ascent, the materialized descent; between left and right; opposition, invasion, between oil and acrylic: the natural and the manufactured…In her, the Cuban artist discovers interior landscapes, a poetry that vibrates in her veins and comes out painted in their tones.
Ileana Mulet studied Plastic Arts in the Fine Arts School of San Alejandro and she was graduated in Design of Interiors Specialty for Tourism, Cafeterias and Restaurants, and in Clothes Design specialized for Cuban Television. Nowadays she writes, preferably in the language of poetry.