Without further ado, is a series that employing the painterly tradition −its resources and its objects− brings us closer to color as an artifact containing both its own logic and its own meanings. This project calls into question the idea of masterpieces as a distant and virtuous land; both making evident that a “square” is coated and interrogating out of what “this cultural artifact” is −and can be− made of.
Consequently, these substrata reveal historicity, significance, and economy of color, they manifest the way how color has depended on the context in which it has been inscribed to constantly be −and continue to be− ignored or practically nullified; considered vulgar, emotional, or irrelevant, and later on reaching a substantial importance in the fields of high culture.
It exhibits a series of coloured objects, displaying the evolution and particular methodologies that have functioned as fundamentals which seek to complicate their exercise until becoming a deconstructive game reframing a series of problems and questions arising in relation to their production and interpretation, as well as reconsidering their current practice. And beneath these demands of co-presence, the sensorial, communicative, and political potential is hidden and revealed in order to devour the civilized, the enlightened, the modern, contemporariness. Therefore, painting becomes erratic, indeterminate, a site of transformation.