Moreover there is a Jura range on..

Moreover there is a Jura range on..

Artist working on the installation, AUACRAG (Burgos, Spain) 1989

Moreover there is a Jur range on...

Moreover there is a Jur range on...

Installation view, AUACRAG ( Burgos,Spain), 1989

Moon series

Moon series

Acrylic and silver varnish on paper, installation view, 1989

Moon series

Moon series

Acrylic and silver varnish on paper+plastic , installation view, 1990

Vegetal wall

Vegetal wall

Acrylic on canvas, 200 x 500 cms. (five pieces), 1991

VAGOS

VAGOS

Artist´s magazine, 1995

Vagos

Vagos

Exhibition view, CRUCE (Madrid,Spain) 1995

Genies of the lamps

Genies of the lamps

Photocopies lamp shades, COCLEA (Camallera, Spain)1996

1914-1924

1914-1924

Photocopies installation photograph (detail), 102 x 164 cms., Moriarty Gallery (Madrid) 1999

Mama Ja

Mama Ja

Photocopies installation photograph (detail), 157 x 102 cms, Moriarty Gallery (Madrid), 1999

Two rooms

Two rooms

Installation view, Vacío 9 gallery (Madrid), 2007

Knight

Knight

Digital print and acrylic on canvas, 145 x 70 cms., Vacío 9 Gallery, 2007

Beirut series

Beirut series

Artist´s studio view, 2011

Beirut city view

Beirut city view

Oil on canvas, 200 x 300 cms., 2011

100 Idols

100 Idols

Installation wiew, Cervantes Institute, Brasilia, 2014

Nadal

Nadal

Acrylic on canvas 35 x 27, 2013

Mechanical Manipulation of Fantasy

                    1992-2000

 I used photocopies in my installatios for nine years. Starting from one or several images, basically taken from newspapers and magazines, which I divided, enlarged an repeated, I papered over and over the large shed where I worked, photographing the processes and including myself in the environment in order to show his scale. In this way the work splits, and on the one hand it is a real scenery, and, on the other, a photographic scenery. The expression "mechanical manipulation", ironically refers to the technique, which implies at the same time mechanical and manual processes. I used quotatios of all kinds, poular and historical, to work out the iconography, which adds a strong conceptual content to the mere visual. Then I developped the collage and introduced more color in such a way that my work becomed more pictorial. I was immersed in the old analogical world, with all his burden of images and references, but, at the same time, the work  opened towards the digital world: the frontier between both was represented by a grid which constantly appeared in it.

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