Carnival
This work constructs a space of suspension where figures float within a boundless blue field, liberated from gravitational constraints and conventional somatic logic.
The forms channel the ludic tradition of Joan Miró—his oneiric figures dancing at the threshold between the abstract and the figurative—while reclaiming the sculptural essence of the Parc de l'Escorxador in Barcelona, where solid forms dematerialize into kinetic volumes that appear to dance within the spatial void.
The bodies fracture into discrete chromatic modules: conical heads, geometric torsos, and limbs that dissolve into pure, unadulterated pigment. Certain figures retain a classical silhouette, sculpted in cream tones that evoke ancient statuary; others erupt in vivid red, blue, green, and yellow, draped in the polychromatic vestments of the carnival. This coexistence between the permanent and the ephemeral, between stone and festivity, establishes a dynamic tension where identity becomes profoundly malleable.
Here, the carnival is not a temporal event, but a sustained perceptual state. The figures do not merely don masks; they actively reconfigure themselves. Each body operates as a synthesis of possibilities that fundamentally challenges the monolithic unity of the self. The azure backdrop is neither sky nor sea; it is a generative void, a necessary vacuum where the impossible can assume form without friction against the constraints of the real.
The work does not merely depict a festivity; it operationalizes its core principle: the total suspension of normative laws. The viewer observes these figures adrift in their impossible choreography, discovering that the carnival requires no calendar designation. It suffices for perception to accept that bodies can dance untethered from the ground, that identities can fragment without dissolving, and that reality—much like a well-crafted disguise—can be shed and reinvented each time a gaze dares to look beyond the mask.
Size:
35.82" x 36.61"
Technique:
Oil on canvas.
Carnival
This work constructs a space of suspension where figures float within a boundless blue field, liberated from gravitational constraints and conventional somatic logic.
The forms channel the ludic tradition of Joan Miró—his oneiric figures dancing at the threshold between the abstract and the figurative—while reclaiming the sculptural essence of the Parc de l'Escorxador in Barcelona, where solid forms dematerialize into kinetic volumes that appear to dance within the spatial void.
The bodies fracture into discrete chromatic modules: conical heads, geometric torsos, and limbs that dissolve into pure, unadulterated pigment. Certain figures retain a classical silhouette, sculpted in cream tones that evoke ancient statuary; others erupt in vivid red, blue, green, and yellow, draped in the polychromatic vestments of the carnival. This coexistence between the permanent and the ephemeral, between stone and festivity, establishes a dynamic tension where identity becomes profoundly malleable.
Here, the carnival is not a temporal event, but a sustained perceptual state. The figures do not merely don masks; they actively reconfigure themselves. Each body operates as a synthesis of possibilities that fundamentally challenges the monolithic unity of the self. The azure backdrop is neither sky nor sea; it is a generative void, a necessary vacuum where the impossible can assume form without friction against the constraints of the real.
The work does not merely depict a festivity; it operationalizes its core principle: the total suspension of normative laws. The viewer observes these figures adrift in their impossible choreography, discovering that the carnival requires no calendar designation. It suffices for perception to accept that bodies can dance untethered from the ground, that identities can fragment without dissolving, and that reality—much like a well-crafted disguise—can be shed and reinvented each time a gaze dares to look beyond the mask.
Size:
35.82" x 36.61"
Technique:
Oil on canvas.