"Since 1990, when photomontage erupted on the scene as an extension of Jorge Galindo's pictorial work, it has never ceased to be present both in his creation and in his exhibitions, always acting as a counterpoint to the immense paintings and marking guidelines to a reading of the pictures themselves," wrote Rafael Doctor in the catalogue for the artist's first exhibition devoted exclusively to the technique, of which he had shown some similar samples two years earlier, in 1995. The images he constructed mixed fragments of human bodies, pieces of animals, food and objects, in a representation of humanity in which direct sexuality and the consumer and entertainment environment defined the personality of the characters. One dominant ingredient of those images was the eyes, usually in clusters, which seemed to be staring at the spectator like a strange monster-voyeur emerging from the surface of the photograph. Two years later, in 1999, Galindo returned to the large formats which had been usual in his painting, applying the photocollage formula to obtain the main image of the picture, consisting in this case of elaborate portraits of pet dogs or birds taken from photographs, brutally spliced to scraps of women's bodies and men's sexual members from pornographic magazines. The support -velvety, padded canvases that evoke "housewives" quilted dressing-gowns-, the precious workmanship of the portraits and the gestural energy, which has almost become a secretion of gushes of paint thrown onto the painted surface, make these works his most directly provocative and intensely sarcastic ones. He himself has baptised them "animal painting". "Seen as a body constantly at work, his images enjoy exploring the terrain of representation, open to a host of readings and fantasies that transcend the critical rhetoric from which they emerge, reiterating the excess that propels desire and representation."
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