Y yo, que no creía en las brujas”
From the outset, the small pieces indicate the way home like crumbs, they are monadic fragments of what happened as a workshop experiment, combining the replete with the pilgrim, in a search for atmospheres that are always close but at the same time distant eons of time. Telluric forms that take shape as small fixed screens in an instant.
We continue to find their traces of xenomorphic hunting in the 7 paintings of menacing and wild forms, such as the flight of a bat captured by a camera in the light of a strobe.
After the hunt, we enter the magician ‘s entrails through his video monitors that project the rehearsals that he will later paint with calculated gestures based on visual and sound spinning techniques, in attempts to stretch and frame moments that are apparently superfluous but full of tragic intensity due to the passage of time and the imprint. The interior is where the magician produces.
Horror unfolds in plenitude on the big screen. A spatial horror that drinks from nearby sources and that , as in a giant mouth, swallows the vision to honestly release the unnamable monster that we all carry inside us after 25 years of visual exhaustion and optical saturation.
It seems impossible to reconnect with referents after this painting, but the framed photographs reconnect us with dramatic but moving events such as those tyres burst by speed and anger, what could be more beautiful than a landscape turned into its own spectral apparitions of bitter victory.