2012 > 2019
With Isilduak (the Silenced Ones), iF initiates a new technique of paint-pouring on wood, isurketa, where the fluids are ironically and artistically maintained and constricted – up to controversy. Here, desire gives way to condemnation, and lust to dissent. The artist's intentions have changed, but his style remains. Dismembered, flawed, somehow funny bodies satirize what is left of their torture, what is preserved of their slavery. Spinelessness, aborted identification and anonymous violence border the absurd: our existence is curtailed, joy is yet another wound, and all that is left is the mute shout of the painting, as if isolated in a solitary ecstasy, as if gloomy evidences of evicted freedom.
The works in the serie Zaindariak (The keepers) are mute representatives of cultures and languages on the waiting list for sacrifice on the altar of consumer society.
Series that sets off scandal and faces censorship. Solitary salvation, declaration of lust to the imprisoned lover, the disorderly shapes have become actual bodies – virile, turgescent, fiery, Promethean bodies. But while Inkontzientearen Adierazpenak praises a colour imagining its shape, Arrak eta Garrak praises a flesh enchanting its pigment. In every painting, political subtext and carnal criticism mingle to display some unfinished and desirous bliss.
Series of large semi-figurative, pulsatile and colourful acrylic paintings. All the elements of his vision are already surfacing here: the bright and almost primal hues, the extravagant shapes, the intricate relation between colour and drawing alongside with their relevant disharmony. The political, poetic, loving, daily subjects are barely perceptible, only their bistability makes sense, only their emerge matters.