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To get into Sapere’s work is not an easy challenge. The omnipresent and permanent alterations ( possibly the famous concept of drifting off) in his work compose a labyrinth. It invites us to an extraordinary voyage, where we meet with aspects of the environment as well as with personal obsessions. It constitutes a symbol world, where the objektive and the subjektive are expressed by a powerful laguage of symbols.

In face of the breathtaking changes in Sapere’s work, some absolute trerms become apparent, recuring like in an intricate symphony.

The artist has developed, consciously or unconsciously, an own mythology, where we come upon reminders, secret or obvious citations as well as systems of decadence which conduct to frequent junctions. They remind us something which is omnipresent in his painting: the recourse to different moments of the aesthetic of the Middel Ages. So the -nearly always present- plane geometry can remind us romantic moments and the numerous crossings have their seeds without a doubt in the Gothic. Therefor we have a reason for the supposition that the the artist feels evidently attracted by the mysticism, as the alignement of the symbols on the paintings are in parts similar to the signs of an incomprehensible road.

On the other hand the admiration Sapere bears towards Torres García is not a coincidence. This great Uruguayan created also such a mythology that we know as a constructive universalism.

The incessant repetition of certain motives in Sapere’s work remind us of a search for archetypes: the frequent emergence of the flower and other botanic allusions, the snake which crosses many themes with its serpentine body, the schematical figure of the half poet which, at times appears under the buildings or is placed opposite anothe figur on the well thought out horizontal surfaces. You’d think these paintings are not painted but a coinage as there are many meticulously elaborated details.   

An further exceptional facet of his painting is the diverse use of materials. Sometimes it is evocative of the inerpertly stroke of the brush by a child, but then again a careful and remarkable denseness hides behind it.

That is how each work represents a silent set of fragments in order to communicate the mysterious echos of a thunderous and symbolic universe by way of an „emblem or a flag“.

Raúl Santana. Director of the Museum for Modern Art of Buenos Aires

April 1995