Script for Celebrating a Decade
@perture: night, of course. Time at a standstill, wakening of vampires and ghosts as catchable images. You can hear something that resembles music: sounds that imitate the noise of an industrial factory, computer-processed sounds, machine sounds.
Two sequences: first: piles of magazines: years and decades accumulated in pages and pages of printed paper waiting to come back to live by the work and for the work of someone who tries to provide life to a creature made up by different body parts.
Second: the blank sheet where paper figures dance and leave orchestrated by a pair of hands that aim, through this staging, to freeze a pathetic moment and setting it definitely.
Approach: the actors of each drama, lacking the landscape that surrounded them in their earthly life, or even printed, find themselves suddenly immerse in an overwhelming sphere, in which, almost all the time, empty and wrapping spaces dominate: now they are figures of a drama plotted to unmask the whimsical role of the gods and goddesses that manipulate the threads of our destiny: emptiness dominates almost everything, and the characters-victims participate in a game of proportions and disproportions that want to portray the insignificance of human nature before the monumental character of nothingness and it's built, lacking of all attachments to the past, in new signs within the universe of the composition in which they act, universes that stand out for their neatness, both in formal technique, and the economy of elements for creating with expressive strength, subtle caricatures of the human condition.
Panning: a few years ago, Eric del Castillo Bandala, convinced dissident and practicant of a nihilism in which he doesn't believe, initiated a creative route that took different directions: from painting, where the acrylic dominates due to its rapidity, to performance, in which he avoids to fill the intensity of the ephemeral with direct violence, preferring to intertwine some sort of incongruity poetics, and also going through object-art, the object found that suffers always from manipulation. However, throughout his work, the collage functions as common thread: not just about plastic language that he has refined through his creativity, and also the sense of collagist expression is spilled over the other disciplines that Eric develops, permeating his pictorial work, for which he uses images that emerged from a cut out paper composition, that the objects, which recover the fragmented character of collage, from time's rubble.
Cuts: polymorphic multi-natural images feed the creative dissociation / reality is an incomplete series of information fragments for weaving a puzzle / takes a knife and cuts out your silhouette from the surrounding environment / "performance is a moving painting" / "collage is painting with scissors rather than brushes" / the man is the man's wolf / the world flows through the net and satellites / artificiality stands out, and also that which is synthetic, anatomical, instantaneous / nature has played a fair role within the encyclopedia and history books / let's greet the coming of the human-machine, the cybernetic being.
Fade: there is a conscious distancing by the author from these microcosms, and he becomes a mere observer of humanity, like a voyeur, without taking part, covering the disillusionment behind an irony mask that pretends not to look affected by the terrible and contradictory aspects of the contemporary world; this is about an isolation that is not prone to good or evil, that mistrusts utopia and doctrines, that laughs at the fractures of the ruling system, which makes everything seem like merchandise, like a facade, an isolation , that at the same time evidences the simulation character of the establishment, showing that the shell encloses the emptiness.