Building is no more sense to deconstruct the meaning. Lyotard


Disrupting the experience of place and time, the "culture of technical equipment", overproduction aesthetics, the explosion and the imposition of the images we produce and pollute, the effect of technological development and new digital media, leads us to perceive more to look at and understand, resulting in the insensitivity and alienation.

David Rosado argues for a complex figuration densified and formal tension, wrapping it in fragmented visual noise - loose lines, strokes and aggressive indecision chromatic and other interference in his speech, which, coupled with a dynamic gestures and expressions, intensified this recent body of work, the frantic, visual disorder and violence.

From vocabularies loose, segmented and placed in planes intersecting, vibration of the stroke, release the syntax and semantic imbalance, these works are resonances in the formal principles of Dada and Expressionist forms of guidance, are collages of Kurt Schwitters in the first case, whether the immediacy of Georg Baselitz, Willem de Kooning or the second.

More to show, in line with some contemporary proposals, the contamination of the painting to literature, film and urban culture, the artist focuses his research in the way we build our collective memory and how we relate to and immerse the sensitive world .

These lines of force underpinning a kind of diary, understood in the way of distilling and divestitures visual effect of meeting the artist, intersection of infinite visual streams, in a continuous process of integration, deconstruction and construction with the world and its totality.

This series of work is developed from an artistic way diverted from its role by new technical devices and image production with a vast history, but it serves, paradoxically, to discuss the issues of this through an intimate complicity with the surface and plastics.

Showing a current reality centered on the stimulation of sight, in praise of the false and artificial, and to build and explode a disruption imagery, the artist subtracts the images from their context and meaning to cause a reordering and semantic replacement, returning to the new reality visual vocabularies and understandings: "Looking at a work of art means least, trace paths and co-design ways after doing so, the painter opened imperiously (albeit sideways) paths to follow, and, by himself, his work is factored this fervor among four tracks that will retrieve a movement, a life. "

Text: Patricia Barriera 2009