“Popeye”. Only his legs and shoes are noticeable. Figuration / non-figuration, it’s endless. March 2021.
Wednesday, September 6
Saturday, September 2
I found this unusual Popeye image at a market in Morocco. I think it's the cover of a ruled notebook for kids, probably from the 60s or 70s. Morocco is full of surprises.
Saturday, July 8
Wally Wood was a prolific comic creator from the 50s. He worked in all kinds of comic genres, produced a ton of comics and illustrations, and was an amazing draftsman.
Who is Dopey?
200 × 150 cm, 79 × 59'', mixed media on Fabriano paper.
Tuesday, April 11
Collaborative painting show with Pere Llobera. We decided to work the same format, 2 × 1.5 meter paper works on a similar theme. That was in 2020, at Galería Esther Montoriol in Barcelona.
Thursday, April 6
“Love's not Love”. Galería Ester Montoriol, 2020. JUJA. Mickey Mouse. Ooof !! -- what a hackneyed theme. I am sure Mickey doing it with Pluto has crossed a lot of minds. It crossed mine. Love possess. Cupid has stung them both.
“Love's Not Love” at Atelier Cora Egger, June 6, 2019, Barcelona.
The theme of the show deals loosely with the theme of love in some of its aspects: carnal love, lost love, promised love; and the related themes of gender, power, morbidity, sexism, and what is or isn't pornographic. This was the first time I had shown my work in a solo show in a long time. The work was new, and the timing of the show couldn't have been better. Thanks, Cora!
This was one of the first raster gnomes I painted. They are all the same theme and subject. A landscape, central gnome in the foreground. A knife in one hand, a bleeding heart in the other.
I was invited to a small group show at Cora's space a few months earlier and then she offered me the space to do a solo show, documented above. Lots of artists and friends that I hadn't seen for a long time came out to the opening. That felt good.
200 × 150 cm, 79 × 59’’ painted drawing on Fabriano paper, 2018.
Sunday, June 15
This is the 2nd street poster A2 size (40 x 58 cm) 16 x 2’’ that went up on the streets in Barcelona in the autumn of '95. It says “You are a Wanker, and you're not alone either --¡Yes Yes!.....Salon Autónimo of Barcelona”. Depicting Dopey (of the 7 Dwarfs) jerking off onto what looks like a Tapiés painting.
3rd installment which never got printed. It depicts the folkloric “caganet”, the crapping man, the traditional crèche figure which Catalans like to adorn their Christmas Nativity Scenes with. So I made him crapping out a painting instead of, well, crap. Fecundity is creation. It says, “I don't paint my paintings anymore. I crap them out—that way I can produce more art and produce it faster—Barcelona, Autonomous Salon "
At that time, the media, and government institutions were referring to “artists” as young creators. This was a way to deflect the “art” debate by changing its name in an attempt to create an art scene. There was a huge concern in general that local artists weren't getting any attention. Neither by collectors in Barcelona, museums, or internationally. But no one seemed to ask if they, the artists, whoever they were, that nefarious group of creators, deserved any attention at all, which they probably didn't. Whining artists that no one cared about anyway. The other side of the coin was this: if the people who were worried about artist activity had any idea of what they were talking about, which they didn't, then maybe they'd realize that what creates an art scene is first taste, then money, but not talk. But in the end, Barcelona was put on the map because of the Olympics in 1992. Now it is overrun by tourists.