For me, the body is not only what the term defines in the dictionary, but also everything that you practice in your daily life, such as the sexual instinct or the Freudian principle of pleasure. In that sense, everything somatic. The erotic nature of the human being in relation to the body occupies a central place in the piece, as this involves a significant aspect of our behavior in society. The rediscovery of the sexual in recent years has led to the inexorable eroticization of the body, and to what Ezequiel Ander-Egg would say is the “genitalization” of our social dynamics.
The search for this corporal prism of identity, of the “body” if we understand it as I understand it, corresponds with my personal intention to take the body beyond the body, converting its representation into incarnation—into flesh, in the most literal sense of the word—, in a moment in which identity is manifested as a body image. I am interested in that temporality, that viscerality of the flesh and the fauves.
In short, I want to pay attention to the current dissident situation of bodies, to the purely somatic such as physical pain, to the wound, to the blood, to the flows, to the putrid.
In short, I want to pay attention to the current dissident situation of bodies, to the purely somatic such as physical pain, to the wound, to the blood, to the flows, to the putrid.
Underlying the project is the idea of reviewing the traditional formal aesthetics that has privileged the canon of the body and its styling, to twist its ideas and take them to a radical postmodern posture with which to project an image of the "body for the body itself," as Pere Salabert said, to restore the space of the corpulent and the material in painting.
First approach to the final piece.