The series Confusión

(1999-2002)

It was in the series Confusion where his ideas took on greater rigor and at the same time their consummation, made portraits of women that were printed on large-format canvases, and through photoemulsion and direct intervention with oil on the support, hid their hair, hardened the feminine features, or placed mustaches, sideburns or another haircut. The result were works that established an ambiguous identity and only had one element as a counterpoint —reinforcing their androgynous nature— a woman's name as a title. This arises from taking as a reference a postmodern notion of identity, at a time when certain parameters are already broken, not only relative to external appearance, but also to what contemporaneity has travestied of each gender.

In his perverse action in relation to the conventions of portraiture, it is necessary to specify that his characters are taken from the social context and manipulated to the point of bordering on marginality, as happens in the ensemble Evidencia (2002), or recreate a circumstance about them, as in Check Point (2004), where he referred to the visa process. He made a zoom around the marks that these pages usually carry in passports, while the photographed person showed his teeth, as was once done when selling slaves. The so-called dental check once attested to the "good" quality of what was being bought and now the artist makes his models exhibit them as a mockery of all the implicit requirements in the approval of a visa.

Caridad Blanco, 2008