By Manuel García Verdecia.
A great poet once said: The eye sighted is no eye because you see it; / it is eye because it sees you.
And these verses are useful, extrapolating them, for my referring them to the photographer's art: it is not because we see his photographs; it is essentially and significantly because we bear out he sees. Seeing means will, sensitivity, awareness of a perspective and a utility. 
The photo exhibit, which is being opened to everyone’s wanting-to-look-at-it eyes, is meant to pay homage to the most decisively turning point in our country's history, the triumph of the olive-green Revolution.
The young photographer Amauris Betancourt climbs so a higher step in his short but well en-route career, which already includes no few achievements.
A conscientious look is observed in the photographer works; mindful of what it happens in the ever-changing daily life, of the gestures revealed in men in his acting on earth. 
The exhibit is made up of 50 photos picked up after a hard work of decanting, very complex if it is taken into account that a reporter's work piles up images with an almost exponential increase. It grows up with the passing of days due to the tuning of his perspicacity, the familiarity with the occupation and the rooting of an ineffable need of catching instants. But, as he had to arrange sort of a panorama to show, rather than the art of the photographer, the art to produce a country during half a century – it does not mean leaving out quality while choosing –, because the artist has imposed strict boundaries.
However, Amauris succeeds. Different contingencies, one way or another, of a group of human beings are portrayed here while making an effort and displaying their potential in divergent uneven existence paths: work, study, art, sports, recreation. That is, the assortment of life. 
Taking a good look three subjects are dealt with and brought once and again to the surface repeatedly making up the exhibit’s spinal cord. In the first place, human groups. Even though there are some excellent photos dedicated to personalities of the culture – Mario Kindelán, Silvio, Nicolás de la Peña, Estela, Solás, Frank Fernández –, priority is not set on individuality, but on the movement of human groups. 
This is noteworthy because it is a decisive aspect of the process we have lived these years. Some men joined to others, linked, performing on in a common purpose. Another aspect is the endurance of life. Beings striving, making the most of it in an assignment: at the installation of a nickel belt conveyor or some high-tension lines or a theatre stage, the baseball stadium or the classroom. But there are always people doing, assuming their jobs in strive with life. 
The third subject, no less interesting, touches on gestures synthesizing an existence's significant element. The sports hero to the shade of another greater hero, with equal meditative attitude; the hands of the reporter fixing the data that will become later the news touring the world over; the artistic director or the audio technician paying attention meticulously to what he does; the barber fulfilling scrupulously his role while reflecting the elapsed time; the elementary school student sleeping with a watchful flag in her cheek; the rude hand holding the trimming hook in the break amid work.
They are, in my opinion, the higher instants of the exhibit, for its warmth and depth in picturing the man in his daily life and, at the same time, in his greatness. 
Amauris defines very accurately his subjects. He uses properly framing to expose what he aims at and to avoid undue ambiguities. He likes the contrasts of lines, as well as the shades of light revealing the dynamics of the photographed object. In short, he knows how to demonstrate the intentionality that moves him, because without it there is no art.
A great poet once said: The eye sighted is no eye because you see it; / it is eye because it sees you.
And these verses are useful, extrapolating them, for my referring them to the photographer's art: it is not because we see his photographs; it is essentially and significantly because we bear out he sees. Seeing means will, sensitivity, awareness of a perspective and a utility. The photo exhibit, which is being opened to everyone’s wanting-to-look-at-it eyes, is meant to pay homage to the most decisively turning point in our country's history, the triumph of the olive-green Revolution. The young photographer Amauris Betancourt climbs so a higher step in his short but well en-route career, which already includes no few achievements.A conscientious look is observed in the photographer works; mindful of what it happens in the ever-changing daily life, of the gestures revealed in men in his acting on earth. The exhibit is made up of 50 photos picked up after a hard work of decanting, very complex if it is taken into account that a reporter's work piles up images with an almost exponential increase. It grows up with the passing of days due to the tuning of his perspicacity, the familiarity with the occupation and the rooting of an ineffable need of catching instants. But, as he had to arrange sort of a panorama to show, rather than the art of the photographer, the art to produce a country during half a century – it does not mean leaving out quality while choosing –, because the artist has imposed strict boundaries.However, Amauris succeeds. Different contingencies, one way or another, of a group of human beings are portrayed here while making an effort and displaying their potential in divergent uneven existence paths: work, study, art, sports, recreation. That is, the assortment of life. Taking a good look three subjects are dealt with and brought once and again to the surface repeatedly making up the exhibit’s spinal cord. In the first place, human groups. Even though there are some excellent photos dedicated to personalities of the culture – Mario Kindelán, Silvio, Nicolás de la Peña, Estela, Solás, Frank Fernández –, priority is not set on individuality, but on the movement of human groups. 
This is noteworthy because it is a decisive aspect of the process we have lived these years. Some men joined to others, linked, performing on in a common purpose. Another aspect is the endurance of life. Beings striving, making the most of it in an assignment: at the installation of a nickel belt conveyor or some high-tension lines or a theatre stage, the baseball stadium or the classroom. But there are always people doing, assuming their jobs in strive with life. The third subject, no less interesting, touches on gestures synthesizing an existence's significant element. The sports hero to the shade of another greater hero, with equal meditative attitude; the hands of the reporter fixing the data that will become later the news touring the world over; the artistic director or the audio technician paying attention meticulously to what he does; the barber fulfilling scrupulously his role while reflecting the elapsed time; the elementary school student sleeping with a watchful flag in her cheek; the rude hand holding the trimming hook in the break amid work.
They are, in my opinion, the higher instants of the exhibit, for its warmth and depth in picturing the man in his daily life and, at the same time, in his greatness. Amauris defines very accurately his subjects. He uses properly framing to expose what he aims at and to avoid undue ambiguities. He likes the contrasts of lines, as well as the shades of light revealing the dynamics of the photographed object. In short, he knows how to demonstrate the intentionality that moves him, because without it there is no art.Let's congratulate the artist for this photographic exposition, well balanced and expressive in its broadest sense. This shown art makes justice to the event he pays homage to. I said it already in the beginning: “The eye sighted is no eye because you see it; / it is eye because he sees you”, he sees us; he sees everything and he sees it sympathetically, with delicacy, with a man’s attentive feeling.
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