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Sundays Painting

Elia Tomás


Painting, Acrylic on Canvas

Size: 36.2 W x 25.6 H x 0.8 D in

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About The Artwork

The Noiseless Series. In 2014, I started to collect old pictures from flea markets. I was mainly looking for male group portraits in order to analyze the complex relationship between a single man and the masses. I slaved away trying to understand more about these characters and their narratives. One day, I noticed that there was always a person that didn’t fit in the scene: the weaker one. A man hiding behind another, a kid looking at some lost point, or a boy with an uncomfortable posture. Pretending to be normal, that person was losing his real presence in the frame, fading away, vanishing. That feeling was familiar. It was the shame of being different and the need to be invisible. It was imperative to remain unnoticed. Noiseless is a celebration of the person whose features no one can recall. A tribute to the weaker man: that guy who was never able to express - or understand - his condition; that kid who ended up pretending to seem normal his whole life. For the fear of losing everything, these men could never raise their voices against the system, and so they just disappeared, erased by time.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:36.2 W x 25.6 H x 0.8 D in

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SUBJECTS My vision focuses on the human element and uses portraiture as a medium to develop a narrative of individuals. For this reason, most of my work deals with the concept of self-discovery: both of oneself (using mask, makeup and costumes) and others (relationships, separations and memories). Therefore, my subjects often have something unpolished and teen. They go back looking for parts of themselves that have remained incomplete or they live a moment of loneliness with dramatic intensity. They struggle with self-identity and sometimes compare themselves to others. Very often they feel they are victims of a certain hormonal euphoria and a little disappointment. They are wonderfully unstable people seeking to shape themselves. They are fragments that I use to explore my contradictions and my concerns. For a long time my work has focused on the concept of masculinity and questioning the status quo. I will continue to do so, because we still live in a society that defends a concept of masculinity that is ridiculous, obsolete and harmful. I consider figurative painting as a political instrument. STYLE More than a naturalistic style, I would define my painting as synthetic. Each canvas is a construction of the image from a carefully decontextualized set of photographic material. Most of this material is self-produced, while the rest comes from private collections or historical archives. In each piece, I like the challenge of creating a different balance between control and abstract: in some paintings I try to do a faithful reproduction while in others I give priority to the movement of the paintbrush, turning faces and bodies into a sum of spots to awaken some emotional attention from the spectator. COLOURS There is something fascinating about photographs from the 80s: those shady areas where colors have gradually given way to blue. Since I started painting I have tried to reproduce that effect by exaggerating shadows and edges. Little by little, I have added to the blue a fairly complex range of colors, always having as a reference, the aesthetics of the 80s. Today I consider color my personal terrain of exploration of the contemporary. Without giving up that blue – an almost generational sign – I look for chromatically complex compositions. In my latest pieces I have devoted much attention to yellow and pink, colors that very often represent naivety and also decadence.

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