Asunción, January, 1997.

“Having decided to return to his personal hometown history, he burst into the art scene in Paraguay in the 1980s, with a vehement, straightforward kind of work and image filled with expressiveness, animated by a great sense of humor, and a concern about the conflicted human condition; aspects that would later permeate his whole artwork. This conflict has basically been intended in terms of a tension between the subject and the adverse or complicit time that conditions it; that limits it and redeems it.

Simultaneously, connected with the idea of domesticity and the guidelines of industrial aesthetics referred to the multiple conflicts that overwhelmed the panorama of the contemporary aesthetics and faithful to his time, Feliciano knew how to detect in the air the presence of complex questions of entangled oppositions that perhaps posed as unsolvable, and that were connected confusingly with pure interrogations; with errant metaphors that looked for nothing more than a scene in which to present themselves without trying to reveal figures or giving away the idea of secrecy.

The supports have named the issues that confront the craft and the serial work. The issue of the aura, the theme of the industrial reproducible, and the uniqueness of the creativity, as well as the technical aspects that has obsessed a culture that outburst stereotypes and molds. The artist promotes a debate between the feverish design of blankets, folders, gobelins and the interventions he himself has generated through the use of acrylic painting, applications and embroideries. When facing each other (designs and interventions), the most direct craftsmanship and industrial manufacturing, they both release a constellation of materials and values that transcend the merely ornamental.

One of Feliciano’s latest works of art about the corny and the trivial, fall into an almost radical position. The small pieces of lace and gobelins are hand-embroidered with short legends that speak of ideal love, fear of loneliness; farewell and hope are small conspiracies, common places rehabilitated by the truth of the borderline situation that makes them vibrant and extreme, almost circumspect. Feliciano does not lose the edge of humor or leave the parody game with language, but his search for the reverse of a worn aphorism leads him to glimpse scenes and to suggest the dramatic vein that encourages the smallest word to shout with genuine force.

The artist has gone quiet now. We are left with the disturbing keys to his world of everyday images that from his artwork language and ornament, conjure death vigilantly.”