by Miguel Angel


Starting from a reflection about the animal kingdom and from that extend zoology dichotomy vs civilization ( part of the repercussion in the context of the cultural contemporary debate) the work that I am developing in the last years revolves around a ecologic note of declared semiotic dimensions, where the concepts of “perversion” and “irony” are conjugated by postulating a critical statement that narrate some conflictive situations about the invasive (and colonial) human presence in the natural ambit.

Immersed with patience in the harvest of images, which precede comprehend from the digital archives of different accessible sources, even others that have been well taken as a physical object, I prescribe the meaning of them building like this a new speech about animal extortion. My discourse, at the same time, affects the art terrain as far  as my exercise of juxtaposition of superposition, dialogue with that strategies recurrent within the field of postmodern aesthetics, that supposes a surpassing of some traditional concepts of the own art.

It is, from this premeditated approach, that I rehearse of creation of different hybrid species and impossible images, in many cases of iconography accommodated in the popular imagination, from which I manage to articulate a critical comment that affects multiple planes in what concerns the meaning and the conceptual dimension of my proposal: from the invasive presence of humans in nature  to the clonation of species in biotechnology; for the estrangement like a mechanism call of attention in the mass media to the analysis of the codes of scientific drawing, the photographic language, or the vignette; the manipulation of the image with the most current means to sustainability (also permanence) of the traditionals resources. Far from transmit an apocalyptic message or absolute truths, this creatures, this “new ontologies”, they generate conflicting reactions (revulsion, grace, curiosity), above all, they project differents interpretations full of nuances that touch the viewer to discern them according to their competence and visual efficiency.

In the middle of the way between the reality and the fiction, it re(create) a set of pieces that perfectly could have a place in an “updated” pseudo-scientific cabinet, descendant of the wonders rooms in where, since XVI and XVII centuries, it collects and present a crowd of weird objects, for that thirst for exoticism so typical of the western subject. This game that sees “veridical” or depends on a “fiction more speculative”, it results in one of the fundamentals where it starts from which I enjoy the organization of my work between its formulation in the studio and its public reception.

Serving me with digital and handcrafted procedures, while I do not abandon the use of drawing, painting through gouache, acrylic or colored pencil, I always try to highlight the “almost always conflictive” relationship between man and nature. The perception of the latter as something strange, alien, object of study, manipulation or field of interference.

The result of all this is a cartography of paradoxical images and in the same time visual traps, where it establishes a game with that line of ambiguity between what we know and what we do not know, between what is real and what only seems.

My work, in short, is a synthesis (according to my particular way of seeing) of mechanisms and strategies that are distorted in the triad of reality-fiction and simulacrum.