I wonder if “Vicharros” as Rudolf Kohn calls this series, comes from the Spanish word “bichos” (critters), and when I stop in front of the composition I realize that it is the correct word, even though it is not in the Dictionary of the Real Academia de la Lengua Española and it represents, in a sarcastic way, the way a society becomes automatized. These are machines that come to life in the canvas: Human machines. If I come close I hear the musical notes and someone, from the wheeled coffee maker, is talking to me through the microphone. Machines are human and we, humans, have become machines.
One of the sharper aspects of this presentation is the bicycles. You can get a glimpse of a connection with your childhood memories. It is the innocence and complete freedom of a child that, in his maturity, cries out so we see ourselves in the mirror of the soulless robot we are turning into.
He joins opposite concepts in which the “vicharros” are present to confirm the required balance between what we are and what we can be.
The soul searcher whispers in my ear: “…The wheels, the circles are a common element that repeats itself in the painting of this series. The circle is the center of the creation and the rays (radious of the circle) coming out of the center, resemble the paths you can take in life. A concentric circle apart from the union of the two lenses indicates that in order to comprehend we have to adapt the whole view, is the third eye, the intuition. And two more circles are the lights of the awakening of the world, are the representation of creation.
The energy of the intense colors, alive, sparks a mental game and makes the spectator interested in the search for similarities between the images and his everyday life.
These are large scale works, of mixed tecnique, where we can see the freedom of the brushstrokes on the canvas.
It is an exhibition in which we are transported to a world of awareness where we lock up the adult and become children again.