Datacrédito Painting

Guided by the logic of the sentence-image, which allows for continuity, these paintings depart from otherwise ‘dense’ photographs of individuals in diverse situations and conditions, held by a transversal link: Colombia. Disarmed in their juxtaposition, drained through the medium’s rendering, these objects stand as a population of hollow images. Inhabited by the phantasm of the event (La Habana peace talks, the Administration’s repossession of the Bronx, a cop on Ash Wednesday, etc.). This is a painting that is not self-referential (as abstract painting would be) but an unfolding of a system that can only imitate itself, seamlessly, departed from any referent, from the real itself. A hyperrealist painting.