"Calvary"-Roberto Ossaye created inside the canvas its own revolution. A fight that is not expressed in exaggeration, in chromatic or climatic screaming fits of excitement. His work has the weight and the strength of a well-considered dissension, concrete, indisputable. The terror of the dictatorship of Ubico is reflected in faces that line the cry and pain. The conflict is not on the representation of armed men, but men who swallow their tears and they expect the coup austere. These games were not easily visually perceptible by the Guatemalan officer corps. But in his way, Roberto Ossaye fight and win a silent revolution, numb to the canvas and the portrait of a distressed company but vital and powerful. Matching imperative monotonous and diapason, repudiating the transitive grammars in a satrapy of pronouns. Shall submit the osmosis of the reluctant postmen your mirrors, those who step on your shadow, some reprobates as infallible and these truthful in their rhapsodies. Orders the Houdini of your rhetoric, all the sciences, a wayward pencil stroke, a newspaper that does not rotate on your axis, the quarterback magician white doves to the birds and the Masons and the lame, for his heterodoxy of the parades. To your right to sit on trends catheters, the tamed piafantes of pipe dreams, your parishioners indigestion wafers, parliamentarians squatters manger, two cells, sufraguistas commutative property and a government aspiration of trills. In solitude angles obsesses you, Pharisees dilettantes your anthem, the flimsy architecture of fear, finger of the assassin.
