Talking of Jaime Azocar's works

  Egidio Alavaro :
  Azocar's painting pictures a kind of desperate poetry, a
  strange way of dealing with distress by derision. This
  whole painting takes on an extreme but under control
  violence: from colour to language, from chromatic
  transposition of situations and feelings to cultural
  implications and winks.

   Jean-Jacques Lévèque :
   Azocar is talking to us about nonsense... He likes
   joking, telling in every detail sketches between hell's
   sight and some intellectual and codified public house
   theatre's gags. Death is an entertainment. He's always
   harking back to it, lingering over it ... The stories he's
   talking about are not taking on a one-way road
   forward.They don't forced themselves upon us. They
   request us. And they stimulate imagination. Letting
   everyone free play to go after. Incitement painting to
   the imaginary profusion.

   Francis Parent :
   (... ) What we "hear" best in Azocar's painting, it's of
   course the "cry of colours" as Münch sayed, this
   famous "roaring of pure colour"... What's more
   "thrilling" for the eye than this closeness, in Azocar's
   painting, of complementary colours; red next to green,
   blue next to orange, yellow next to violet ... ? But,
   moreover, with this painter, it's the hair that is blue, a
   cow that is red, a sky that is yellow, a coffin that is
   green, etc.

   Luis Felipe Noé :
   The exaltation of colour voices a paradox : the one of
   making use of it to give expression to scepticism and
   distress. Humour raises that perfect picture with an
   expressionism which, at the same time, loses in the
   mixture its tragic character to turn into optimism. The
   latino-american sight of his painting is precisely
   brought by this stirring optimism in spite of its
   formalism and its scepticism (not to say conscious
   pessimism) worthy of an old world which modelled
   Azocar - he's living in Europe for 30 years ....

   Jaime Azocar : " How to define my painting ? Some
   name it critical figuration, new figuration, new image,
   narrative figuration... Lots of words really whose
   responsibility I leave to critics and art audience. I
   would allow myself to be tempted to simply say :
   "ackowledgement"…"