CHICOTE CFC

The result of an intense and profoundly reflective observation, driven by an irresistible need to externalize concerns arising from a renewed examination of the principles considered essential for social balance -principles which, despite their apparent irrelevance, have often been disregarded- “Chicote CFC’s” work emerges as an act of resistance against aesthetic complacency and uniformity. His production consciously avoids the monotony of monochromatic planes and the simplicity of minimalism, instead unfolding a visual energy of remarkable intensity, imbued with latent drama and dynamism. His distinctive execution manifests through an abundance of textures, an unlimited range of chromatic nuances, precise reflections, and subtle transparencies reminiscent of the pictorial technique of glazing. Drawing upon the resources offered by new technologies, “Chicote CFC” develops an innovative creative methodology that he terms “Symbiosism” or “Symbiotic Art,” through which he succeeds in dissolving the historical boundaries between painting and photography. Although well-versed in traditional techniques and materials, the artist deliberately sets them aside to focus on producing works that originate from “photogenesis” -snapshots captured during his extensive travels- which serve as both the conceptual foundation and the visual base of his symbiotic process. These images faithfully capture the light and chromatic range of reality, only to be transformed into compositions that transcend mere photographic representation. “Chicote CFC’s” works articulate visual metaphors that, often grounded in pure expressionism, do not seek to explicitly identify with the narratives to which they allude. His production, inevitably critical and incisive, exposes the intrinsic duality of the human condition -the capacity to be constructive by vocation and destructive by neglect. Underlying his plastic reflections lies the paradox of a humanity that finds solace in the misfortune of others, while squandering immense effort and resources protecting itself from its own moral shortcomings: greed, selfishness, envy, and insecurity. His works do not aspire to glorify beauty or human virtue, but rather to reveal the rawness and frivolity with which humanity acts in the face of certain circumstances. It could be said that his entire oeuvre constitutes a symbolic attempt to apply bandages to the wounds of the human condition. A significant part of his artistic endeavor revolves around a profound study of the imposed doctrine of perpetual dynamism that characterizes contemporary human activity—an artificial rhythm that has far surpassed the natural pace of change. Immersed in a vertiginous process of continuous construction and deconstruction, modern society seems to have renounced any pause for reflection, correction, or the prevention of its own consequences. This, ultimately, is a way of conceiving art—a personal perception and an individual contribution to the understanding of the present. As the artist himself declares: “I have been trained in the finest academies and with the greatest masters; I have absorbed the work of all the geniuses who came before me.”