ECOS REVERTIDOS

CARLOS FRANCO

“Given the difficulty to approaching reality, the topic becomes a handle” writes Carlos Franco. With this premise, the author conceives Art – which he calls “process of perception-expression”- as a sense organ that may combine what you see, also what you sense, what is imagined and what is invisible. Thus, his worldview is reflected in his work as an absolute. In fact, in his works everything goes from the highest to the lowest, from the abstract to the concrete, and appeared more and more details, more views, more colours and more twists.

The work of the artist, it is characterized by a complexity and difficulty. On the one hand, this is due to its perfect mastery of drawing, which often blur boundaries and overlaps within the same profile. On the other hand, he plays with the juxtaposition of images, exploring surrealisms and drinking from classical and African mythologies among others. Dream and evocation is embodied in his works. The use of different kind of materials and media, from aluminium to plasterboard, to fluorescent pigments and classic pigments show his experimentation and his creative curiosity to create.

Carlos Franco insists on "maintain his way of recording seen," which evokes the baroque mannerism. A troubled mind results on his little confidence in understanding reality itself and this it will be reflected in his diligence or lack of access to essential content of the work.

Apart of the thematic, the colour is another distinctive feature in his work; For the artist, the sense is captured before through the colour. In fact, many artists of the 70s as he and neofiguratists as Carlos Alcolea, Chema Cobo, Guillermo Pérez Villalta, José Manuel Broto and Xavier Grau uses the colour with enthusiasm, overcome the darkness of war, military dictatorship and its aftermaths.

The attractive color of the pictures can be seen at first sight but, as already noted, by attaching more attention or think the essential message of the work, a sense of unease stuns us; perhaps, rather, the materialized intensity, "kidnapped attention."

In Faust or The santadiablo, we see a woman posing sensually, in the middle of a colourful landscape. To stop it, it amazes us on the right side of his torso; we see two different profiles as red devil or elder person. This internal character of the opposite sex to the external character brings to mind the hermaphrodite, because it gives both male and female.

Sexuality and the unconscious play an important role in this table. For Carlos Franco, the ends of a process are not antagonistic but parts of it. In fact, the juxtaposition of opposite colours, going back very far, allows the mind to the one creating the range and harmony. The reality, or "process" in the words of the author, is a whole. What is truly real is reality, which consists of different parts that seem to oppose, contradict or even want to destroy. However, despite having separate entities, they are still parties and can never cover a total reality for themselves.

The importance of the landscape should also be emphasized. Carlos Franco is one of the rescuers of the landscape, which for him means and transmits freedom. The artist suffered a serious accident that caused him to save time in bed. He reflected at length on the meaning of freedom and said he understood that his job was to know to find within its confinement within their space; and watch the sunset outside and through the window.

Orpheus and Eurydice also shows a beautiful landscape with a guessable far away sea with trees in the middle ground and, with more relief and near the spectator, some shapes in blue and red. The title refers to a couple of Greek mythology; Eurydice dies and her lover, Orpheus decides to descend into Hell to save her, but failed in the end. We wonder if the blue (Paradise) and red (Hell) appear together in what seems a calm landscape, does that mean that the two places live on Earth? The mythology in this table is explicit in the title and implicit in the air bucolic landscape.

Children by feeding brings us back to mythology, in this case, historical. The creatures feeding on what could be a wolf we refer to Romulus and Remus, the birth of the great Roman Empire. The greatness of the subject contrasts with the primitiveness of drawing the essentialism colour and line drawing.

Muses and The Secret Life fruit moves to disturbing effect with surreal touches. By far, this is still life with empty bottles, a pitcher of beer and a fruit basket. As we approach, we are surprised to see that the jar is full of different people silhouettes. These contours that the Muses could be referred to the title, seem unstable by their repetition and move us feeling as if we had drunk the entire empty bottles box. We were also shocked that the handle is an ear, among other details. In the second box, the pitcher has anthropomorphic silhouette and the handle remains one ear. But in this case, their drawn see what looks like a red foetus, which could well send us to the secret life that entitled the picture.

Great Menina in the harem belonging to the series of paintings devoted to the harems. If you look at the composition, it appears that the role of the picture lies in what could be the Madonna and baby Jesus. And that stage, a harem as the title, becomes a provocation and an attempt to put together the categories of the sacred and the profane, as if they could live together. The idea of ​​virginity is treated as an intimate topic that each generation is again, in the sense of innocence, of purity, of something that is given to us by nature (the goddess Diana as an archetype). However, the word "Menina" takes us back to Velazquez and, in this light, is born another reading, more critical: In a harem there is the figure of Madame, who commands, directs and controls; would become the figure in black on the top right. The picture draws a parallel between a harem and the cultural and economic Art market as art is a commodity and a few determine the functioning of that market. It is therefore a complex picture; it tries for their different styles, such as Cubist torso of the Great Menina and also the symbolism behind each item. Carlos Franco masks a topic many other topics. Perhaps this attempt to understand the forms that exist in the picture may seem presumptuous. But the task becomes almost as unworkable when it comes to understanding the background, the whole reality of painting. In this sense, Carlos Franco wrote: "We must accept that we do not understand the background of what we're seeing." Moreover, the complexity of the works and the infinite details allow several readings. However, human nature resides in the will and the need to assimilate around him, what he sees and what he feels, no matter how complex. So does the author, since his painting also arises from this same desire to capture the environment.