Fake and Farce: Backdrops for seven scenes has its origins in the performative piece developed for La Tallera during the Summer of 2017. This multi-faceted piece created spatially complex theatrical perspectives that brought the back
stage to the front whilst turning the workplace into a continuous exhibit.
Fake and Farce unfolds upon the results of those scenes thus adding an extra level of interpretation that sets forth the tension between the construction of time in what is properly pictorial and in the moving image. The whole exhibition is a kind of background while the recorded images of the action that took place in La Tallera have become themselves a video-installation.
The paintings seem to build and destroy the pictorial plane in a single move, hiding themselves through the loopholes of the videos. The paintings organize, aesthetically, a loss of meaning. It is from these spaces of indetermination that questions arise and connect the medieval imaginary with the contemporary world: How is political correctness detaching us from desire, joy, irrationality and disorder? How can the stasis of painting be understood as a kind of movement where lack of action, time and form take on another meaning?