Animated mutation, the paper allows itself to get pummel, overlay and dissect. Clipping of procedural offal, it ends armless, forewarning the battle of boards and canvases, performing talking spider defying the gods to whom surrender. A child armed with a sling to tear down the giant between the skyscrapers. Insubordinate soldier fighting the vacuous war of unrealistic ideas, the dislocated paper tumbles-down, derelict, common, leftover, it’s teared apart from the comfort of the magazine, dismembered from its purpose, to claim its nature of ideological cocoon, pandemic drift, putrescent meditation, guardian demon of the sweet-dream’s dark room, silent preachers of lysergic anathemas of the visionary left-overs.
“Fantastic Metropolitan Creatures” are made out of stardust born from a synaptic big-bang, indomitable rebels against the pretentious image composed under the fear of fashionable dictates, controlled by the irreversible linearity of the willful thinking and its consequent coprophagy.
The promiscuity of ideas is redeeming. In this case it becomes act of junction, without bothering the peaceful chaos of things, blending with violence and elegant vocative presences, disclosing compositions full of meanings. Promiscuousness multiplies and reveals a renewed identity, taking place inside the chaos avoiding to drift thanks to an arbitrary and genuine act.
Operating appendix of creative narrations and peculiar personality, the monster of visibility imposes himself free of counter-cultural misunderstandings, as alchemical result of infernal mixtures, a dadaist halloween, escaped from the repression of history.