Since the painting has become eminently camera, thanks to the influence of a genius like Gerhard Richter, has been gaining an ever wider opening conceptual digressions on their cultural and media, and the relationship with the world el ' environment, also as a space, virtuality to explore and fill epochal meanings, concerns, visions, signs and expectations of freedom, each time taking a new and profound anthropological connotations naked together in launching the space of the paint surface, so ecumenical and a powerful impact. After the dual symbiotic pulse of abstraction and figuration as in the case of the master German, there has been a breach in a positive sense, of total contamination inside the same practice of painting. As if the whole film, performance, video art, installation in the nineties seemed to have to replace or remove the vehicle, instead they came together in the canvas, creating a new superpittura, stratified, can revolutionize the representation of reality and exploit in the framework of the theoretical and instrumental lines to express a more frontal, but at the same time with no ambiguity, and Cartesian doubt, the extended value of the image that communicates. Since the painting after having passed its periodic crises, is going through some mechanisms of self-analysis, of un'illusorietà that comes to terms with the profound nature of things, with a certain type of reconstruction of the real, as opposed to an industrial production of images, and then compare to natural especially in the broad sense that was de-legitimized by the rejection of the romantic. Even as the Scotsman Peter Doig, a special formulation of natural landscape and figurative realistic touch, has reinstated a romance in a position to channel the energy of a poly, the unusual and poetic. It returns a "religion" or a science passing through a hard and close comparison with the real / natural, with the space transformed the world of technology and hyper-hyper-industrial, sifting annoyances and idiosyncrasies era.
Speaking about the work of Bradley Castellanos is to suffer the effects of problems that explore the natural and altered strategies of iconicity, of the superficial and deep mental processing environment, understanding variations in purity dream or in the degradation and corruption of any matter subject to an evolutionary step in the same way that focuses overwhelmingly on manual painting a gestalt that idolizes the bright color and then decline more towards the implementation of a real world, and visually scored by excesses of all kinds. Something of toxic, ominous hovering in the mixed-media works of this Mexican artist, who lives in New York, where the warm color or resin is laid on the photographs, in a hallucinatory eloquence that moves continuously from the fantastic to the social, with a great respect for vision of the work and the nature of the message, concealed and revealed according to the syntax you want to produce. In fact some of the works of Castellanos focuses on the landscape, especially the dark forest where the size of the atmosphere, and allegories suspended engages the ancestral, the unconscious, like some fairy tales, which today are channeled into a cinema or evil a literature which could include as much Kubrick Stephen King. The other aspect of this work is that instead of alienating narrative describes and defines the areas of the provocative "in disarmament", the places abandoned and no human presence, such as foam-water port and the sky Fallen Belle fluorescent chemical, or out of the factories full of debris, waste materials, sheet metal parts, which bring to mind a whole world of rust, the corruption of matter, molecular biological and consumption of things, immersed in the vital sphere of man as its inner components. There is always an overlap of biological el'incorporeo in this painting, until the pantheism that obscure the soul ends meet with the debris, with excreta or consortium created the modern industrial and post-modern. The idyll was removed even in an ironic approach, allowing only the blind stupidity of a real nightmare. Unlike here Doig Eden is absent or reversed in a carnival where the divine mineral in metallic pipes, the spiritual coincides with a process of sedimentation and acidification of chemicals, which are concentrated in the colors, and overflow where everything is was produced and consumed in a cosmogony becomes existential scrap the residual.
But be careful to focus on what is the true intent of this metaphoric and metamorphic, because if the first approach betrays a semiotics linear and indignation, the strong impulse that drives you to observe a deep understanding of the nature of perception and anxiety over political and anthropological habitat that resides in it as a social drama, history, inseparable from its media terror and unreal . The media are characterized according to the position of Paul Virilio dromologo from overexposure of information and images that cause the viewer to a loss and a glare that flattens the senses and the ability to move closer to reality and understand it. This "enlightenment" to involve the media ends up producing some real artistic blend into a sense of barrenness and superficiality. Then the Painting is a cosmos of images that persist in the perception and resist any neglect and indifference, by analyzing different practices and the dynamics of speed and change. Castellanos all'illusorietà than offset by the television un'illusorietà painting that goes deep into the contemporary reality of it is the exasperation prophetic images are related to these collective unconscious, tied to an iconography of "too known" that reveal a system of paradoxes in which the balance is between the image released acrobatic in its sense of nudity and shouting his excess of meaning. So the acid tones, and artifacts are integrated to achieve sensory output that goes well beyond the pop and goes up to the digital graphics, video game. Substantially reverse to the beauty and dazzling kaleidoscope of a commercial plant, is equally as dilapidated, in which the transience of visual cognition anesthetized, here the color vitality awakes from slumber, the appearance is suspected to warn and lift the problem of representation than any referential visual experience filtered and acting as a catalyst for stimulating energy and invisible, thus overcoming the issues on the retina, but also Audiovisual. The painting of Castellanos speaks with force, parodying the media, and by burning more than to move towards the essence, not away from it in fact creates a film scenario sometimes suspect as an excess of quiet, sometimes running as an alarm, but the shocking vision which linked directly to the object, it leaves us something, a track, deeper into matter, to re-emerge and remain in us, paradoxically, the truth about the condition of corruption and mystery to which we are necessarily related. In fact, the artist proposes metropolitan scenarios and its post-apocalyptic New York, see King's garden, but adapted to a comment dreamy and surreal in the deformation makes them universal, saying the hard character of a city that is now hostile space, dark animal that human settlement has not yet achieved the balance between primary, necessary, and progress. As inspiration for the De rerum natura of Lucretius investigates the anatomic construction of nature and of nature iconography and evolutionary aspects are highlighted along with the violence of an exponential insatiability of our time, as he listens to the exponential value of the painting that gives codes decryption. The fluidity of the transition between the objective and the plasma instead of a cosmos mnemonic of silence and theater, is full of death, the space is the locus amoenus, but the desert caustic and chilling. The war (against the arbitrary conduct of America in the world) is that incinerates the vegetation, on the mother planet, the soil to grow into a decline of people already, and for that sense of openness we were talking about painting the top introject this deep swoon in horror and an overview of the performativity of paint that contains what it reveals , something sordid and terrible, but not limited to the bourgeois fear of nature and medieval, but the most virulent and less mysterious explosive, in which the boundary between the improbable true el'inverosimilmente is weak as on September 11 under the eyes of the world-directed video. For this painting Castellanos detector is concealment of what is ancestral and contemporary, shows us as an unreality bitterly credible on the verge of collapse, is the transfer of a transcendent eternity transience of the work, so in the end, canceling out the filters in annihilating their repetition, except the shining thoughtfulness of his painting, post-apocalyptic scenario in which plays the resistance of images that are related to human values \u200b\u200band artistic practice heroically.
Giuseppe Di Bella
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