Rage Girl consists of drawings and paintings forming a sole series.
On a principle of collage stickers facing various surfaces, the parts that make up the Crónicas Pegajosas (sticky chronics) series generate thoughts about the encoding, decryption and interpretation.
The sticker as an object is characterized by its sticky properties and mass distribution. Omnipresent in the contemporary vernacular, it informs, advertises, decorates, claims, or is being collected.
The Crónicas Pegajosas can be assimilated to still life objects of mass communication. Pictorial compositions depicting "perishable" objects that are intended, for a multitude of reasons, to mass distribution.
I Feel Like Vomiting
The series of Damián Navarro is a variation of the cuisine-Cointet realized in 2011 by the artist in reference to an ink on paper drawing by Guy de Cointet I Feel Like Vomiting (1979). The latter consists of a linear organization of red and black squares. By far, Navarro perceives the block composed by these squares as a frying pan profile, in his version he added the lines to the composition to transform it into a saucepan.
If the work of Guy de Cointet dictates the systematic composition adopted by Damián Navarro - an alignment of forms of exact proportions applied to all the works of the series - the reference dissolves and fades as its interpretations evolve.
It suffers from an escalation of translations that dries its essence. The depletion of the initial work leaves room for other purposes. The substitution of the minimal forms of de Cointet with stickers directs the project towards a parody. With these ersatz, the artist emphasizes a dimension of our everyday life, superficial and weakened icons / tools.
The will of Damián Navarro to abolish any pictorial hierarchy is confirmed by the technique used for his paintings. He chose the method of stucco, wall covering that combines plaster and paint and refers to a household aesthetics. The frame of the canvas vanishes, the surface becomes smooth and the support is then neutralized. Without making the canvas disappear entirely, Damián Navarro creates a confusion of the space, more or less influencing the fictions created by the stickers.
The drawings backgrounds are solids watercolours or a glass plate that give an aqueous and uncertain dimension inviting the viewer to recreate his own narration.
Damián Navarro, with iterations and systematic games suggests a paradigmatic and fictional proposal accepting multiple realities.