Original engraving in linoleum technique made
on purppose for the catalog of the engraving's
exhibition of Uribazo, held at the Gallery
"Centro de Arte" in Boyeros.
Havana, Cuba. 1981.
It had an edition of 350 copies.

  ...Mydarling, on  the  naked  plain  drawing  of this paper, the thrush loving grief extends your groan  of  happy animal.  Because in the deformity of this fork, you will
find the  true  image of  the  bodies dissolved by  this  arm  and  as it is enlarged in your chest the cooked bread, the free laugh of the boy, or your  anger  before  the
inhuman thing, they will know the reason of  "having been lived" and these faces of  bird bathed from the dew,  or bestial fright.  
  And  even  more, I  make  responsible  the  painter  Uribazo  with synthesizing  the  essence  of  the  senses, to the same language that will be deciphered through
our contemporary art, all creation of our myth.
  Latin American's land  that day by day, by force of cohabiting with the mountain  growth, the  hope  flowering, and  the  dignity  of  destiny, they love the love as one 
loves a son...

Tomás Brene. Art Commentator.

…In general ...belongs  to  those  that  have  obtained  good  results  from  their  good  hands, always  with  impeccable
realizations  and  a  surprising  versatility.  Because  no  the  virtuoso  always  harvests  the best results, him is always
been accompanied by a great work discipline.      
   Today  we  are  faced  with a decanted Uribazo and owner of the necessary technical equipment to create works, that
without no doubts they will be indelible prints in the Cuban arts...    
… Uribazo mark a new  cycle  in  which accompanied with by his good hand continue him the good ideas, without seen
himself with the rush for arrive, neither to be in the last wave, like it happens to some colleagues.  
   By his window, goes the elected world  by  him, we see it with thick will, imperatively; sending to stop each being that
goes by, to universalize  it  in  his  rich  range  of  technical  possibilities, because  it  is  necessary  to  say  about  the
remarkable abilities that has this artist; so attests in this way this solid collection...  

Nelson Domínguez. Painter, Engraver and Designer.

The poet Raúl Rivero, presenting the Uribazo's exhibition "The Fantasy is a Credo".
Colonial Art Museum.
Havana, Cuba. 1986.

  The Carlos Uribazo watercolors, are distinguished at first sight for a robust vital content that translate itself in a
series of pictorial symbols with a fantastic and emotional character.
  Over  a  bottom  chromatically  prepared  to  the  effect  and with some agile brushstrokes, the painter goes us
discovering  some  animal  and  birds  images, in  a molds  game  where  they  sometimes  appear,  following  a
sensitive line, human forms.  
   We could speak about ghosts conceived by the  artist, which  wants  to  make  allusion  to an interior world of
things hardly described.  
   We  are  in presence of a painting eminently expressionist, where the "soul states" overcome the logic. These
soul  states, expressed  in  chromatic  forms  of  soft  tones  with precursors accents, contrasting with the white
surface  of  the  background, conserve the original and primordial force entirely; being that the completed work is
not a purely formal  fact, but  the testimony  of  a significantly precise content. From there, the impression to be
before an "informal" painting, apparently, but in substance, impregnated with human exuberant values.   
   The  chance  has its laws: The creation of some artistic structures, needs at least a knowledge in the practice
of art and a notion about the structure; in Uribazo's paintings these circumstances are given, it is not for chance,
if in "the space traced by  the painter", the composition of an eye or a human form beside some open structures
or full with  colors, they assume  a very  precise  function. All this, converges exactly to indicate us symbolically
the intervention of the "I", that is to say, of a deeply human experience, in continuous linkages of purely material
facts.   
   It is  clear  that  in  the  Uribazo  case,  the work it is not never ended up in herself; but, as long as expression
"soul state", the work is always open and  it  incites  the spectator to the abandonment he/she gives successive
reflections or to imprecise fantastic order digressions.

Juan Romero. Painter and Engraver.

...Uribazo  doesn't  get  tired,  that  is clear. Great  part of his work is a series of
searches in some Baroque and monstrous  stains  inhabit  by  souls  and  some
clear  and  luminous  lines  for  where escape the bodies. The rest is occupation.
And  Carlos  doesn't  miss  occupation, exact   and   authentic   occupation;  his
engraving technique is purified  and clean, he frequently manufactures his papers
with a shop desire that looks like to the old big saints of the Renaissance...  

Alfonso Ortuño. Humorist, Painter and Caricaturist.

...In Uribazo  a direct  proportion  is  given  among  the  soul state and the characteristics  of  his works, since the
depression inspires him sweet topics, without bitterness. The artist method of work is simple; because he doesn't
believe  in the inspiring muses.  The daily work is the one that gives the experience, the technique, the art and the
ability...

Maite Gimeno. Columnist of the The Region (Orense).

   My  friend  the Cuban Carlos Uribazo, exposes another time in Orense. He is already known by the devote ones
and  the overly  devout  persons  of the  fine arts in our city.  But this time Carlos will surprise us for the most part
with luminous and sensitive  "watercolors" and  no  with  his  splendid engravings, linoleums and drawings that we
already saw years ago in the Athenaeum. His  "bestiaries", "anatomo-erotics" and the  "formalist orismo"  and his
"magic abstractions" from  his  hot  earth  in  the  Caribbean,  they  are  so dearly familiar as the Galician being in
Havana or Cuban being in Orense. Carlos is an  ardent and self-absorbed  searcher  of  dreams,  day  by  day  he
continues finding in the infinite "Art labyrinth" for new forms and colors that he always kept in that wonderful loft of
his unconscious.  That  singular or remote loft, where begins the first alchemy of all sincere art completely to then
descend toward the conscious  reality  of  his  painting, always  coated  by  the  light  of  his  own  ancestral  and
autochthonous nature. That alive nature are his paintings.

Xaime Quessada. Painter.

The poet Raúl Rivero, the singer-author Pablo Milanés and Uribazo in the
exhibition of the last one, held in Colonial Art Museum. Havana, Cuba. 1986.

   I knew Carlos Rafael Uribazo (URI, for the friends) the  warm night of
a Castilian  autumn, when  next  to  his  companion Asun presented in
my house. That physical knowledge came  to  confirm  me  what I had
been known about his person:
      Almost blackish, Uri, friend   
     and round   
     as an apple   
     hanging from the history   
     of his Santiago,   
     and drunkard of love for his Cuba   
     it sharpens the look   
     until feeling the existence   
     in conversing   
     that his imagination   
     makes flow for his throat   
     such if it was   
     a vortex of basil.
   But  that  verification   that,  between   jokes   and   truth,  wine  and
happiness,  went  strengthening  it  ended  up  later  days  when in his
house study fuenlabreño I could admire  its  pictorial  chore.  Although
the communion of the same hopes sometimes impedes, as the forest,
to see from the tree its dual  structure, in  this  case there is not such,
because his deep roots like a clotted sigma of  stalagmites  appear for
the branches of his  painting  in  vertiginous  realities. For  that  reason
and even knowingly  that  I won't  be  able  to  express as I wanted my
emotion, I enclose this poem written especially for this catalog:

Andrés García. Madrid. Poet.

...The  constant  experimentation  that  covers  the   most   varied   artistic  technics: (xylography,  lithography,  etching,
collography,  ceramic  and  the very peculiar impression of his "papers"...) and a wide thematic and formal spectrum has
characterized the Uribazo's work.  He  creates  his  own  textures  with  the  more  dissimilar  daily resources of collage,
handmade he makes arise a material type that allows him to exploit the planes  better  and  to  propitiate a very peculiar
appearance of relieves, he prints singular lights with pastels and acrylic... In  the  thematic  order, so  soon  he  goes  to
capricious forms or he assumes merely figurative compositions  enhanced  by  the  ornamental  relies, as  he intrudes in
aspects of surrealist character to surrender completely to the telluric magic of nature  and  to  the  fabulous  possibilities
of the human being interpretations...  

Yolanda Ricardo. Essayist, Critic and Professor of Cuban Culture.

Entrance of the Gallery Can Sisteré,
Santa Coloma de Gramenet, Barcelona. Spain. 1991.

   That  afternoon, finally, I  had  the  occasion  to  visit  the  Uribazo's study. Joyful, he  showed us his last works.  I was
appeared to a dream where the hole is filled of signs, the questions  arise  and  the images sketch the possible answers.
For this hunter of moons  The Fantasy it is a Credo. He dives searching for images the same as a boy dives in the game.
No has lost Uri the capacity of astonishment  above all what surrounds him. An insatiable curiosity and the domain of the
most diverse techniques in plastic expression often open to him the doors of the unsuspected things.   
   An abandoned toy, a tablespoon or the  remains  of  an  old  washer  machine, are  enough  to  untie  his inexhaustible
creative capacity and make us to come closer to the other face of the Moon.  Their  images, contained  in  series (Roots,
Games, Owls, The Fantasy is a Credo, Homage to Goya) they are the kaleidoscope  through  which  Uribazo  shows  us
his  personal  vision  of  reality,  always  open  to  surprise, to  doubt, to  the  risk, in  a light balance that prevents him to
stagnate and leaves him in freedom to continue looking for. The rigor in its work locates  him  in  the  opposed side to the
frivolity, to the fashions (more or less induced), to the " isms " in use, to the intellectual net. His work is  sustained in the
stored occupation and in the wisdom of who is always learning. His great secret is maybe in continuing, without knowing
the advice that, in one of its speeches, of  Juan  de  Mairena  said to his students: "It is necessary to have the eyes very
open to see the things as they are; even more open to see them others of what they  are; more  open  still  to  see  them
better of what they are."

Matías Muñoz. Poet.  

The image of nothing gets to life,
the reality alters: with a line
woke up the finally the shade of his dream.
On the back of a submarine horse
it rode the night in its shipwreck,
in a to close and to open two big eyes
an owl returns to air.
The day tosses roots in the sky,
the environment is populated of colors,
the matter recovers movement
and the metamorphosis originates.
Man or beast?
An eye is the witness:
a beat hardly separates us
from the animal that inhabits all of us.
In the bottom of the solitary eye
is distinguished, through the pupil,
the paintbrush and the hand of Uribazo.

Matías Muñoz. Poet.

                                         For Uribazo
Line, stroke  
that it captures your chimeras,  
beating strongly in your existence,  
they leave step to a heart  
filled of images  
that they overflow and impregnate all.  
  
That weight, that pressure  
of crowded together ideas  
they combat for your attention  
that seeks to transform  
the abstraction in beauty of colors.  
  
The talent of your hands gives them life,  
but they have tried to be revealed against
                                                     you,
overflowing the unthinkable thing  
with arrhythmias and fatigues.  
  
Right now, contents and orderly  
they will flow such as you want,  
to give to our eyes  
new creations born from you.  

Rosa Brobía. Poet. 

Catatog's cover for the exhibition of Uribazo in the Gestafe Cultural Center.
Madrid. Spain. 1993.

... Uribazo's  creative  language  is  located  in  the   parameters  of  figuration,
intoned  with   dreaming   vibrations,  looking   for  its  support  in  the  popular
characters and social topics affected by the  epic poetry of the lived moments,
correspondingly to freer speeches; a  very  open  figuration  that connects with
the great body of the Spanish and Ibero-American painting, the  effective chore
of realism. Although surprisingly it escapes from  two  of  the  most  significant
thematic   blocks   of  this  school: the  portrait  and  the  still  lives  or  interior
compositions, matters  that  would  reach  high  bench  marks  of quality to be
treated by the artist.
   Another keys in Uribazo's work is necessary to look for it in their  permanent
commitment with the graphic work, I don't know if the first thing in time was his
activity in the Graphic workshop in Havana, but I am really sure is  the decisive
thing of this experience. Located in a  first  floor  of  the  colonial  Plaza  de  la
Cathedral, in front of the one that  was  house  of  the  Spanish  Viceroy  in the
Island and to four steps of the Bodeguita del Medio,  was the  fantastic  space
of  confrontation   and   brainstorming   that   it   united   old   and   remarkable
lithographers as, José Contino, Armando Posse, Juan Boza, Sosa Bravo, Raúl
Martínez, José Luis Posada with virtuoso youngs  as  Roberto  Fabelo, Nelson
Domínguez, Pablo Labañino, Luis Miguel  Valdés,  Chocolate,  Zaida  del  Rio,
Humberto Castro, an unbeatable place to forge artist character in all those that
frequented it.
   Then, other trips and other sources from to drink, Mexico with his plastic puff
and vigorous, the North American in formalism that  probably  contributed  with
matter and relief to his more radical works and now the  cold  Europe, a  lot  of
reason  and  scarce  temperament,  where  Uribazo  saturates  in  one   of   its
Finisterres,  connecting  with  the  lucid  irony  of  the  orensano  artist  Miguel
Mosquera.
   So the spectator is  noticed,  he  faces  a built work with time and energy, in
 which there are not deceiving games, neither concessions to fashions or
joints.A work that has to be observed with attention and revised as many
times demands its exact understanding...

Fernando Ferrro Payero. Art Commentator.

Freedom is the more sweet
drink of solitude.  
                                   Uribazo

...Step by step Uribazo has traveled a lot: experiments, searches of new means
and working forms, that arrives to meditation points, the feedback confrontation,
that only it favors the encounter with the obtained results, withtheir addressees,
and it is in fact his intends, precisely with this, his fourth individual exhibition. 
   Uribazo  brings  us  now  a  gathering,   brief   but   embraceble  of  the  most
important  crossed  stages  and  proposes  us  new  trips, by  way of summary,
for which he programs to go into a different graphic vision. Is in  this  way as we
see him transit from the xylographs and linoleums, with their epic and vegetable
faces, to  the  cardboards, full  of  the  perceptible  and  peculiar  spirit  with the
santiagueras  artistic  traditions; we  see  him appearing in this way, rehearsing
with  plastic  materials  in search of an atmosphere, until the intention to rescue
in a integration process  certain  values  of our material culture as it is the native
stool, for hands  of  a  multiplied and intemporal Quijote, cracked in the metallic
plate.    
   Lately, he step up for the textural wealth, the design coloring and simplicity of
the collographs  that  make  us think of the Spanish traditional ceramic and that
they enter with good presage for  a growing synthesis restlessness, after a long
period of motley " baroque style " from the previous images.    

Alberto Quevedo. Art Critic and Curato.

...Into the promotions of the seventy decade in Cuba the works of Uribazo occupied a position inside a current
that made  emphasis  in  rural vivencias and as it has been said in "epic faces and vegetables", fully  identified
with  the  new  figuration  and  the   Neo-expressionism...  Lately  textures  and  delirious  chromatist,  deeply
identified with our tropic, came to be summed  up finally in an universe of sure and calm architecture, refuge of
doves and laces stamping where some not forgotten toy adds the childhood deep print... His wood engravings,
linoleums, etchings, lithographs, collographs and Silk Screen, are  traveled by an expression  that tries to arm
poetic notions…  No  exempt  of  surrealistic  notations; decorative  no  excessively  valued  that  designs  an
atmosphere where the composition harmonizes with the balanced conception of ideal presences... 

Aldo Menéndez. Painter, Critic.

Catalog of the exhibition carried
out at the Gallery "Centro de
Arte" in Boyeros.
Havana. Cuba.1981. 

Catalog of the exhibition
"Reencuentro Grafico", carried 
out in the Fine Arts National
Museum. 
Havana. Cuba. 1982. 

Original engraving made in the Plastigraphy
technique, for the catalog of the exhibition
"Reencuentro Grafico" carried out in the
Fine Arts National Museum.
Havana, Cuba. 1982.
It had an edition of 400 copies

Personal caricature of Uribazo made
by the masterful hand of the teacher Ortuno.