Tropical Caravaggio whose ills are not exorcised, who tears the fabric of logic to display the paths of the recklessness and danger: that is Jorge López Pardo. A post-apocalyptic poetry of retained objects, a bunch of lights thrown on the outline of an imposing liquid shadow, so dense that thickens in contact with the air. His is an attractive look, seductive and foolish at the same time. His is a world of living objects that, in his experience, venture the signs of our future.
Truth is the field explored by this artist and the construction of its heights is the reason for his concerns. Thus he structures in the canvas a story that tends to the moral as the last result. He uses a universe of inanimate objects among which architectural spaces and the most basic tools of human work are the most relevant ones, and with them he builds a scenography in which narration stays unchangeable. High crestfallen towers, the cracked surface of the Earth, the precariousness of a house, the loneliness of two buildings in the penumbra, the absolute weight of a roof over its columns: his is a refined act of poetic condensation.
Then, in the midst of so great a desolation, his figures look impressive, regal, fascinating. This painter is defined as on the way between hyper realistic and mystic, someone who carries a careful and restrained formal seal. The resulting images of his work are disturbingly attractive. They are not allowed to pass unnoticed before human eyes and reason. They are mental images, in short, they are immanent, threatening.
