Postmodernism philosophy through the plastic arts in Chente Almodóvar

Chente Almodovar - Plastic Arts - Art GalleryHow to represent the human being in the hyperrealism media era? How to assume this gesture, which constitutes the paint when the sense of all that we long to say with by the plastic arts has been ruined by the very spectacle of its signs?

In the era of the simulacrum, as Baudrillard had referred to, the only certainty are not the things, but the semiotic labyrinths that separate us from them the ontological conception of the scientific technology and the tearing that moves us away from ourselves even through the screen.

Question that leads us to an irresolvable paradox: we crave reality, conceive a certainty in the forms, we rely on the vision, but at the same time, that vision has already been mediated and filtered through computer screens and TV, microscope and acquisition electronic equipment. The dimensions of the representable have displaced the eye as an institution and established in the vision machine (porno-visual) your new home. Is that the atmosphere-the anguish, perhaps-that runs through the pictorial work of Chente Almodóvar? When being coincides with what we can see and what we see at the same time sends the microscope, ultrasound, genetic maps and the stellar nebulae, the paint must take the risk to radiography the reality of the human being fully aware of their privacy publicity. Where once the paint wanted to decipher what we were seeing, today science and display devices have disrupted the thin strip between the visible and invisible. The invisible, precisely, is what appears in the mechanical eye of modern sensing technologies. Then, why not take the risk, perhaps the commitment, artistically to represent the DNA strands or embryonic dough, at the same time it seeks to leave trace, showing the painter’s hand, the highly personal line that rips all and that allows us to usurp to the technology its iconographic privileges? Under the premise, of the Freudian court, which states, “the ontogeny explains the phylogeny”, C. Almodovar draws a visionary journey on the postmodern condition through visual archaeology by the ontogenetic avatars of the human evolution. This series appears as their “Embryos”, supported by the “Zygotes” or the numerous hands, sometimes holding the cross and the threads of the puppeteer, and others as mere human testimony that suddenly appears on the screen what is represented as a “presence” as the title says of one of the compositions. In this alphabet visual of ultrasound dreams of mediated visual quality, there’s a brief hint of subjectivity, an allegation to the self that manages the cling to canvas before it ends merging with another screen.

Paradoxically, the cosmos, which in Greek means “order”, it does not allow us to refer to the disorder of abstraction once it appears under the filter of the visual machines. Just take any photograph of satellite to become aware of the Kandinsky cosmic that we expected, without copyright or relevant records in the confines of the universe. It is this contradictory gesture that appears captured in these works. The nebular representation of space or “eco-programs” comes – Corporeal of C. Almodóvar (zygote, embryonic bodies, DNA strands, etc.). Acquire greater accuracy when the degree of abstraction is greater. That is, the almost total lack of figurative pictorial representations which traps that evolutionary energy, its spirals and genetic strength, is only real when you began to discover shapes, intervals, gradations and differentiations within the framework of the work. And this is the result of manipulation (hands, several of them, which seem to pull strings, removing not only the essential condition of humanity, but the limits of representation and visualization): science not only manipulates the bodies (genetic, pharmacological), but alters the visual quality system from which we are confronted with to the discoveries of everyday life. The most abstract painting is always a photograph of space or of the microscope image, the point where myth and science overlap and are identified, so this collection of works is more accurate, it is closer to the object that tries to reproduce the higher rate of abstraction, distortion and haze of what brings us under his brushstrokes. The revolutionary is to accept that, in our days, abstraction coincides with the real, and it is this aspect that which vibrates in these works. The microscopic and the macroscopic, there where the vision does not reach without prosthetic technologies to the perceptual feedback is the place to where it directs us to the pictorial production of Chente Almodóvar.

Jorge Fernandez Gonzalo holds a Ph.D. In Hispanic Philology, essayist and poet.



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