Una revolución Index — Nicolás Franco

Nicolás Franco

Una revolución, transmitida telepáticamente |
A revolution, transmitted telepathically (Color Rojo)
2020
Tinta de pigmentos, acrílico, resina acrílica, silicona, ácido muriático, aluminio natural, aluminio offset, MDF quemado y metal desplegado montado en madera.
230 x 222 cm.

Una revolución, transmitida telepáticamente |
A revolution, transmitted telepathically (color rojo)
2020
Pigment ink, acrylic, acrylic resin, silicone, muriatic acid, natural aluminium, offset aluminium, burnt MDF and unfolded metal mounted on wood
230 x 222 cm.

A revolution transmitted telepathicaly (2019), has no direct link with Franco's biography, but both have a metonymic link. If the latter, in any case, emphasises caducity and Death, the former, on the other hand, emphasises desire and Life, the two tensors through which his art seems to move, like a tightrope walker, but avoiding at all times a sharp resolution, a synthesis or a "that's the way things are in the end". More than that, I would say, he is interested in conflict: the clash of images - public and private -, the superimposition of layers, the contrast of colours - natural or industrial -, the texts treated as figurative matter, bilingual, which mislead about the relationship between them; a visual field, in short, in which tensions are played out.

Bruno Cúneo, 2020

Una revolución, transmitida telepáticamente |
A revolution, transmitted telepathically (Tiburones)
2020
Tinta de pigmentos, acrílico, resina acrílica, silicona, ácido muriático, aluminio natural, aluminio offset, MDF quemado y metal desplegado montado en madera.
230 x 222 cm.

A revolution transmitted telepathicaly (2019), has no direct link with Franco's biography, but both have a metonymic link. If the latter, in any case, emphasises caducity and Death, the former, on the other hand, emphasises desire and Life, the two tensors through which his art seems to move, like a tightrope walker, but avoiding at all times a sharp resolution, a synthesis or a "that's the way things are in the end". More than that, I would say, he is interested in conflict: the clash of images - public and private -, the superimposition of layers, the contrast of colours - natural or industrial -, the texts treated as figurative matter, bilingual, which mislead about the relationship between them; a visual field, in short, in which tensions are played out.

Bruno Cúneo, 2020