JAPC: A sort of mirror

By MARTA MANTECÓN

 

A dense accumulation of well-de ned and contrasting shapes moulds the landscape that serves as a habitat for strange beings, made up of eyes, mouths and limbs, together with a myriad of doodles and a sharp assortment of written messages that transport us to a universe as dystopian as it is hilarious. This colourful iconography with its nonsensical and noisy mise-en-scène reveals the author’s devotion to urban and street cultures: from graf ti, comics and illustration to literature and cinema, passing through psychedelia, Anglo-American pop and neo-expressionist bad painting.

The compositions of Pérez Castaños, always critical and incisive, seem to take on the unhinged logic and nonsense taken to excess of our times, acting as a kind of mirror that presents to us, in our faces and without lters, that obsession with presence and that need to ll the gaps to the point of saturation, that is so characteristic of what we call the Occident.

In the interstices, however, we can also nd subtle metaphors, although in order to notice them it is necessary to take our time and go through each drawing from a slower, more self-critical point of view and with an unwavering sense of humour.

 

On top image: Jesús Alberto Pérez Castaños in the studio. Photograph by Santiago Sagredo.

JESÚS ALBERTO PÉREZ CASTAÑOS, Talking non silenced, 2016. Acrylic on Canson cardboard, 69x45 cm
JESÚS ALBERTO PÉREZ CASTAÑOS, Reality is always inssufficient, 2016. Acrylic on Canson cardboard, 80x60 cm
JESÚS ALBERTO PÉREZ CASTAÑOS, Everting is to laugh, 2016. Acrylic on Canson cardboard, 80x60 cm