Eles parecem assustadores... Painting

This work belongs in a serie called URSO DE MÁ PÊLO / 2012 "Urso de má pêlo": Exploring the surface and under the painting. Curated by Israel Guarda The number of bad hair bear David Rosado explores the thin boundary between the surface level and the other below ground level behind the painting. It all started by a fluke in the recovery of a torn screen, where the artist decided to paint a big bear. The reason was personal as noted by the title "and every day know a bear," but turned the painting into something more complex, as embodied painting and support. This condensation structure - supports, in turn, subalternizava the initial transient experience, a search for something more substantial, which would materialize for an interest in characters scale in intimate scenarios, black, where the presence of the whole body wins constancy. This demand for a new approach or a new structure work, intuits the course of the artist greater maturity in the ease with which uses and continues to work its privileged references films, animation, stylized figures, animals, while commonplaces of his artistic language, but appeasing visual noise and fragmentation that characterized many of his previous works. Nothing better to understand the hesitation that these moments of change usually carry the Vedo Nudo work in which continuity and change a work process best can be measured. The search for a synthesis, in this difficult and multiple facets imagistic universe, enabled in turn greater wholeness and better communication skills, achieved more brutal in Seeing things, other things, where the appropriation of film frames Desperate, directed by Anthony Man in 1947, captures the historical context of the black film, the grain and the same tension load; or a more humorous register the combination of unlikely figures of cinema and animation Nothing to declare, not giving up what has characterized most of its work, the character and the communicative capacity of the image. The link between the various works that present themselves worth for what they can become and this is true of any art form, that is the whole (all) you can convert also a facility with its own life. Not removing the intrinsic value of each work, how each of these relates is the strongest evidence of this series of David Rosado, it is these interstices that best understand the gender boundaries, the volatile nature of the images and their representation themes always present in his work, but with a refreshed look, more front and simultaneously more subtle. The act of painting, while conscious action, not eliminate unexpected situations like everything in the human being, and this element of contingency, because not entirely premeditated wins here a greater presence. This fact helps to give the global order of business a power which, although implicitly present, is enhanced by the complementarity that work after exposure is supposed to exercise with each other, a fact that is not premeditated the start, but that will drawn in the studio in each work and the influence this has on the other and so on. Perhaps this factor lies the greatest strength of the work of David Rosado, how produces and gives to see his painting, indifferent to style trends or subjection medium, has its own world, is in contact with the nature of things.

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:110.2 W x 55.1 H x 1.2 D in

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