WORK SAMPLES

Application for the Master Programme in Fine Arts

1
2
Statement
In the last few years, I have built up a body of work that
seeks diagnosing how the evolution of new technologies has
brought changes in many fronts: the hierarchy of images,
the development of artistic practices, the figure of the ar-
tist, the exercise of appropriation, the role of institu-
tions and the banalization of world conflicts through the
saturation of informative content, etc.

To support these ideas I focused on the work of different

authors like Fontcuberta, Hito Steyerl or Juan Martin Pra-
da. They talk about the changes in the way we perceive rea-
lity, brought upon by our interaction with this technology.

I try to draw a proposal that shows the pathological conse-

quences of producing a pictorial work, while always keeping
in mind web archiving and image consumption through elec-
tronic devices.

What is sought here is the construction of a work methodo-

logy, just as Tuymans and Sasnal did before the post-pho-
tographic era. In their case, they developed a sensitivity
that had to do with their interaction with photography. In
my case, I am trying to find a way to achieve autonomy in
front of the image, through an understanding of the inter-
face that allows us to access that web file, in a world of
screens and data that overlap each other.

Ideas such as the electronic device as a window are thus

established in the work, connecting this with the traditio-
nal use of the painting within the painting as a narrati-
ve instrument. Or other concepts, like the arbitrariness in
the search of images, a description of the web system. The
project is enriched through the construction of an imagi-
nary of this era of the electronic device.

3
Description of the Work

4
Space invaders, 2019, oil on wood 20x20

This painting is one of my favorites, a small composition in

which an image of ufology is mixed with the attack on the
Twin Towers. Instead, it answer to a personal fascination
with the sociological function of these images. The use pho-
tomontage to fully support complete belief systems has in-
creased since the middle of the last century until the era of
post photography. Photomontage ,as well as competitiveness
in the world of information, with changes in the dissemina-
tion by journalistic and cultural media, in an era of click-
bait and post truth, do nothing but feed the false, the de-
ception and the ambiguity.

For what, 2019, oil on wood 40x40

It is a continuation of the last painting. In this one I

use an image sampling, this time with a Polaroid photogra-
ph found in Venice and mixed with the attacks of the Twin
Towers. Repeating several compositions with that theme also
has to do with the need to use what is for many a symbol of
the end of postmodernity.

Encounters, 2019, oil on canvas 40x45

This work consists of a still life where it is intended to

show the contrast between very different images which are all
part of the Net. It pretends to work as an icon that tells
us about the diversity that we find on the web . There is a
contrast between the geometric shapes and the dark colors of
the still life and the childish and colorful drawing on the
screens. Along with this am including an initial sketch with
a variant of the composition.

5
Question of copyists 4, 2019, oil on DM 40x50

This indoor scene is one of first works in which I explored my

interest in our relationship as artists with new technolo-
gies. The range of colors dominated by ocher and gray are
influenced by the painting works of Tuysmans. It is a very
synthetic painting that was carried out in two very short
sessions. I enclose with it the photograph that served as
inspiration, as well as the original sketch.

Extensions, 2020, oil on canvas 40x45

This is one of my last paintings, where I come back to my

interest in still lives with electronic devices. This time
I try to approach abstraction by building a composition
that does not clarify the boundary between the screen and
everything else. The color palette increases and new for-
mal elements are introduced, as the upper strip of the fra-
me. I am enclosing the painting totogether with an original
sketch.

The descent, 2019, oil on wood 40x40

This work is based on a photograph by Boris Mikhailov that

shows a group of drunks in a snowy landscape. Of course the
composition is a contemporary parody of the classic scenes
of the descent of Christ. The drawing is childish, almost as
if it were a graphic novel. I could not say anything else
than it being an attempt to introduce mystical elements to my
work.

Extensions 2, 2020, oil on canvas 40x45

This one has similar characteristics. The painting continues

to play with the same elements and motives beyond the photo-
graphic reference.

6
Helmet, 2019, oil on wood 20x20

This small portrait is part of a whole series of works that

show an interest that goes beyond new technologies. am in-
fluenced here by authors such as Bourriaud, who seeks more
flexible conceptions of postmodern art, with an idea of the
body of work that, through associations of all kinds, build
in some way an imaginary by itself. Topics such as retrofu-
turism, medieval art, politics, or the decline of television
begin to be introduced. In this case I have worked arbitrari-
ly with a frame of the film Tron. Together with the image of
the painting I am attaching the movie frame from Tron and an
initial sketch.

Venezia, stories of an image.

Duration: 1:01:39
Image: Color and Black and White.
Formats: Instagram stories, cellphone videos, archive images,
Lumix G7 camera (Format H.2.6.4).
Year: 2018/2019.

The film narrates the experience of an Erasmus exchange stu-

dent and his creative process throughout that year. This do-
cumentary, filmed in a diary format, attempts to capture all
kinds of value judgments about artists, as well as observa-
tions about the city where the author lives, his personal
problems and other events. Camouflaged in the story we find a
whole series of comments about the figure of the artist, the
image, the museum, the work of various painters as well as
the work process . See attached several frames, the cover of
the film and its trailer.

In case there is a problem with the video in the pdf, the vi-
deo is attached in a separate file as well.

7
Work

8
Space invaders

For what

9
Encounters0x45

Question of copysts 4x45

10
Extensions40x45

The descent40x45

11
Extensions422

Helmet45

12
Venezia, stories of an image.

13
14