The author embraces a creed creative force today, with its epicenter located in the pictorial matter, and that Pedrosa has changed over the way the fund. It is precisely in this, the background of the pictures together in their ideology, space and surface to volume ambivalent is slowly gaining presence, not as the venue or lack of it, but he found in authentic settings painting. Origin and destination at a time of anti-forms that houses, among both the path required to meet diametrically opposed principles, laxity and momentum, stasis and movement, objectivity and subjectivity, order and randomness ...

Progresses subtly painting and stops before the nebula persistent charged atmosphere, the colors lose their glow evanescent rise again condensed into blocks aligned hurtful as stakes in the heart of the vacuum, light. Pedrosa seems to have assimilated the details of a stale abstract expressionism, the artist cleverly revitalized breaking the shackles of the past to draw from the old school now converted Certain universal signs, which include the expression and specific plastic feel, the vitality of the painting itself, or the destruction of the image and its symbolic associations.

Although this inner need shed in patches, treading, granular oleosidades are the result of capricious whims, arising out of the often indescribable inner state, the truth is that Pedrosa trace a sort of imaginary line between logic and perhaps visible inconsistency between the mystical beauty chromatic harmonies remain organizing spaces, and the faint, fleeting gestures atonal emerging between asymmetric geometries like ghosts or shadows on the wall random. The canvas-wall lights includes silent reflective, the unfinished tracks automatic handwriting, the distant echoes of a closed non-existent and perfect scenery, now destroyed and drowned in the plastic material (bitumen, oil, pigment, latex ...)

that expands without limits. In other words, Guillermo Pedrosa once again questioning the eve of the painting, the previous idea that from the systematic reductionism makes art theorizing, suggesting the survival of the individual, that I living and dying in every process of creation.

Amalia Garcia Ruby (Point of art)