The starting point was a little work with the theory that it is painting on the street where (I think) the “no control” of the situation predominates and how I find myself in front of that situation. Generally my position before my public work is a detachment towards the work once I finish it, that is to say I do not visit it, I do not worry about its “future”. With this premise is where I found the method of “detachment” used by Buddhists through the mandalas, which once they are finished, they destroy it.
So I wanted to generate a self-destructive work, a work that could not control its condition and that every day is different, as what happens in the street is to say every day are different, but with daily patterns that follow their system.
On this case I was trying (also) to create a new type of dialogue with the concept of a “Museum”, dispute the idea of the contemplation I mean.. the artist can create a theory of work but we always loose the battle against the reality.
Freezing the work is the representation of it, the subjection of absolute truth, freezing is to destroy the theory of the work, also its materiality, its price, the value of work, it is the outline of an uncontrollable microorganism, that’s represented in a metaphorical way when I paint on the streets.
The Frozen work percentage is 29.4% which represents the amount of Cordobese kids who are living under the poverty line according to a study by the Catholic University of Argentina.
This data is as much data circulating as it is the truth that kills the idealism of the artist. Art can’t survive without reality.
Thanks to Kosovo Gallery for believe us and included on the show. Thanks to Daniel Padilla too, without him this would be impossible.
Photos courtesy of Kosovo Gallery. This installation was part of the exhibition called “Pioneros de un viaje a ningún lado” (2016)
