Luis Gómez uses installation, video, photography and painting, with the intention of comfrontation of art, society with the inevitable power relations. Investigates the relationships that surround the art and forms of consumption, focusing at times on specific aspects of the work and the artist market itself. It inspired by a complex thought connected to different knowledges and practices, drawing origin and inspiration from many disciplines - from sociology to literature, from political economy to the technological and communicative research, between relativity and fiction, collective imaginary and false truths.
The awareness of some rules played no reports on ethics but on economic and social speculation shakes the work of Luis on a knife blade, sometimes ironically cutting edge that keeps it alive in a parallel street.
It is a tragicomic complaint, bitter and ironic at the same time, the one that makes Gómez when he warns the artist greedy of money, which ultimately satisfy their vanity at the expense of his real commitment and research, becoming the easiest character corruptible instead of maintain his strong ethics. A complaint addressed to the production of "works-junk" that feed markets and collections, unjustifiable from the critical point of view but from an economic one.
The transition from exploitation to the threat of exclusion practices as the main weapon of discipline is the strategy of domination that today's capitalism is most advantageous. The fear of going out from the pack, not to find a group in which to identify, it is also a group exploited by today's society, the fear for artists to produce a work not "appreciated" or "salable", "understandable" by collectors and institutions, it makes life easier for speculators to dictate the rules of the profitable art market economies. The identification in a group of exploited responds sometimes to a precise location in which to find quiet.
Identifying themselves as a group in a social language, political, artistic or cultural is what though by its nature, Gómez found less natural and more difficult to do.
The work of Luis Gómez is related in connection with a geographical / cultural environment that would result in readings derived from theories or political and social visions. However we must not forget that on the contrary the work always retains an inherently experimental nature to be evaluated in the context of art and artistic research.
Taken from "The Art of the former wife of the" Michela Casavola Museum