"Bear in bad hair": Exploring beneath the surface
text: Israel Guarda

The series "Bear in bad hair": David Rosado exploits the thin line between the level surface and the other ground level behind the painting. It all started by a lucky chance to recover from a torn screen, where the artist decided to paint a big bear.The reason was personal as noted by the title "and every day you know a bear," but turned the painting into something more complex, as incorporated painting and support. This condensation structure - support, in turn, subalternizava experience initial transitory, a search for something more substantial, it would materialized by a wide interest in characters in intimate scenarios, the black, where the presence of full length gain consistency.
This search for a new approach or a new work structure, senses the artist's journey in a more mature comfortable with using and continues to work its privileged references movies, animation, stylized figures, animals, while commonplaces of his artistic language, but appeasing the visual noise and fragmentation that characterized many of his earlier work. Nothing better to understand the hesitation that these moments of change usually carry the work Vedo Nudo, in which continuity and change in a work process can best be measured. The search for a synthesis, in this difficult and polifacetado universe imagery, in turn allowed a greater wholeness and better communication skills, achieved in a more brutal Seeingt things, other things where the appropriation of Desperate frames of film, directed by Anthony Man in 1947, captures the historical context of black film, the grain charge and the same tension, or in a more humorous figures in the unlikely combination of film and animation Nothing to declare, not giving up what has characterized the essence of his work,character and ability to communicate the image.
The link between the various works that present worth for what they can become and this is true of any art form, ie that the set (all) you can also convert a facility with its own life. Not removing the intrinsic value of each piece, how each of these relates constitutes the strongest evidence of this series by David Rosado, it is in these interstices that best understand the limits of gender, the volatile nature of images and their representation , themes have always been present in his work, but with a refreshed look, plus front and simultaneously more subtle.
The act of painting, while conscious action, it also removes any unexpected situations such as at all in humans, and this element of contingency, because not entirely premeditated, gains a greater presence here. This would help give the work a global order of power, albeit implicitly that this is reinforced by the complementarities that work after exposure is supposed to carry each other, a fact that is not premeditated departure, but that'll designed in the studio each work and the influence this has on another and so on. Perhaps this factor lies the greatest strength of the work of David Rosado, the yields and gives way to see your painting, indifferent to style trends or constraints of environment has its own world, is in contact with the nature of things.