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If the advent of photography introduced the possibility of an “end of painting”, the rapid advance of digital technology has given rise to the questioning on how fast the overabundance of images can be assimilated, given the speed at which these can be reproduced and globally disseminated. Anyway, the predictions about the end of painting have proved to be groundless, in the light of the reconsideration –always in progress– of both the content and the techniques and modes of representation of the two-dimensional space. Víctor Rodríguez (Mexico, 1970) demonstrates that, in the particular case of photo-realism –or “magnified reality”–, a refined technique is worthless in the absence of ideas. The artist elaborates a “conceptual painting” in which hyperrealism is the tool –and not the raison d’être– to represent his ideas, generally recordings of performances in which Mayte, his muse for many years, is the protagonist. Rodríguez´s images appear at once active and passive, like a frozen scene in a film. They are mises-en-scène of domestic and urban everyday life, with allusions, in some cases, to moments or personages in the history of art. In his paintings, Rodríguez poses a contradiction: that of the “falsified” moment that is represented with “realism”.
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