Exhibition “Invisible city” by Paco Díaz
The renowned and versatile artist Paco Díaz opens tomorrow 27 April at 20.00, his work "Invisible city". You can see, in the Centre of art Tomas y Valiente (CREART), until May 20.
The Madrid artist will be exhibiting 12 photographs from the series "Stairway to Heaven", each one with a size of 50 x 70 cm, produced by chlorophyll Digital. Together with eight pictures of oil on linen of varying size, being the largest of 180 x 265.
Different sizes shapes and techniques, used by the author to show the reality and fantasy that he finds in places such as cemeteries. In particular in this exhibition know the particular perception the artist on the cemeteries in Père Lachaise in Paris, Brompton Cementery in the city of London and Madrid's Almudena cemetery.
In the author's own words "Discovered one city into another, or a succession of overlapping cities that could find easy accommodation among which described Italo Calvino in 'The invisible cities'."
Hidden City, city of memories, immense scale model, theme park of the architecture of the 19th century etc. Words that define the vision of Paco Díaz look at these huge cemeteries. "An ideal place to look to the past and see the future, seek paradise and found with hell."
His pieces will occupy room C of the center of art Tomás y Valiente Fuenlabrada-Madrid, from Monday to Sunday from 17 to 20 h. they can be viewed until May 20.
Jordi Costa, critical film and art, defined as the groundbreaking work of the artist Paco Díaz,
"Paco Díaz pieces are play the shocking superposition. The word play is not capricious, because a certain playful willingness seems manifest in those works that propose to conjure up the horror vacui through the accumulation of pop objects and enigmatic forms. In the strategy of Confluence, cemeteries (Père Lachaise Paris, London's Brompton Cemetery and the cemetery of the Almudena-Madrid) live, as a fusion of parallel universes, with constructions of sophisticated architecture that suggests children's shelters, stylizations of cabins in the forest, houses on the top of the world, houses forever, existential trenches. Or with (spiral staircases, of fire, industrial), which are lost in leaden skies and, therefore, very little associated with the rhetoric of the religious Iconographies of celestial ascension."