Facundo Arganaraz‘s paintings uses decades old cultural debris such as found photographs, photocopies and pages from vintage books on modern design and environments to create a new contemporary pictorial language. To create these paintings Arganarez uses acrylic and screen printing techniques on aluminium to create an industrial design aesthetic that looks beyond neo-pop and into the relationship between the forms that make up the pictures and the surfaces on which they reside.
Arganarez came to painting after years studying of Law and Political Science and this breadth of disparate disciplines is very much central to the core philosophies of his artistic practice as is his obvious passion for the work of Argentina’s most famous writer, Jorge Luis Borges. Here’s what he has to say about his work in relation to one of the 20th Century’s greatest literary figures:
In Jorge Luis Borges’ ‘The Immortal,’ the immortal troglodytes live on the outskirts of the City of the Immortals as cave dwellers, having lost all memory of themselves their history, their city, and the great civilizations they created, centuries past. The famed city itself, full of glorious architectural structures and endless constructions of magnificent proportions, is now empty and purposeless. Its forms are dead.
He has this to say about his work:
Similarly, living among the vestiges of cultural entropy, I am using anachronistic elements and discarded images not for their nostalgic value but as remains (debris, waste, etc.) of 20th century utopia’s on the making. Mostly comprised of found photographs, photocopies, and pages from vintage books depicting modern designs and/or environments, I recruit this imagery (retro aesthetics) as a mark-making tool, already packed and charged (ready-made?) with pictorial formal elements. Their core forms serve only to organize visual fields into dynamic, constructed compositions that hold a structural relation to the surface they organize.
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