Featured, Original Artworks, Vermibus

Vermibus · La sabana en mis ojos

Vermibus · La sabana en mis ojos

The protagonist of this artwork is Cara Delavigne, one of the most prominent fashion icon of contemporary years and the testimonial at that time for the Spanish brand MANGO together with Kate Moss. There is a certain sense of continuity between La sabana en mis ojos (Savannah in my eyes transl.) and Por dentro cien cicatrices; indeed, the two original posters belong to the same fall/winter advertising campaign appeared in 2015.

The similarities with the quoted poster and this artwork may be observed from both the technical and the semantic point of view. Firstly, the contrast of bright and dark colours has a similar purpose: differentiating the shape of the model from the background. Moreover, there is a sense of underlying irony between the title and the image itself: while the blue background recalls the limpid sky of the savannah, more effort is required for recognizing the model as a wild animal pulled away from its natural habitat. Nevertheless, few details make this imaginary effort less paradoxical than it may seem; for instance: the skin of the model continues the scaly weave of the boots -it is not by chance that the artist leaved the detail of the boots clear and definite- . In order to obtain this effect, he used a combination of instruments through which shaping the colours dissolved with turpentine; for instances: brushes and spatula.

Secondly, similarly to Por dentro cien cicatrices this artwork refers to a level of understanding beyond the visible. The title of the artwork conveys a sense of nostalgia for a remote and forgotten place which the protagonist can only bear in her mind and express through her eyes. If you observe the poster closer, you can notice that the model seems crying: this effect is obtained by the trickling dissolved colour. The original MANGO campaign insisted on the similarities between the two British models; therefore, this artwork together with Por dentro cien cicatrices might be understood as a whole subvertising campaign imagined by the artist.

  • Year

    2016

  • Size

    95 × 59 cm

  • Medium

    Dissolvent on original advertsing poster

About this artwork

The protagonist of this artwork is Cara Delavigne, one of the most prominent fashion icon of contemporary years and the testimonial at that time for the Spanish brand MANGO together with Kate Moss. There is a certain sense of continuity between La sabana en mis ojos (Savannah in my eyes transl.) and Por dentro cien cicatrices; indeed, the two original posters belong to the same fall/winter advertising campaign appeared in 2015.

The similarities with the quoted poster and this artwork may be observed from both the technical and the semantic point of view. Firstly, the contrast of bright and dark colours has a similar purpose: differentiating the shape of the model from the background. Moreover, there is a sense of underlying irony between the title and the image itself: while the blue background recalls the limpid sky of the savannah, more effort is required for recognizing the model as a wild animal pulled away from its natural habitat. Nevertheless, few details make this imaginary effort less paradoxical than it may seem; for instance: the skin of the model continues the scaly weave of the boots -it is not by chance that the artist leaved the detail of the boots clear and definite- . In order to obtain this effect, he used a combination of instruments through which shaping the colours dissolved with turpentine; for instances: brushes and spatula.

Secondly, similarly to Por dentro cien cicatrices this artwork refers to a level of understanding beyond the visible. The title of the artwork conveys a sense of nostalgia for a remote and forgotten place which the protagonist can only bear in her mind and express through her eyes. If you observe the poster closer, you can notice that the model seems crying: this effect is obtained by the trickling dissolved colour. The original MANGO campaign insisted on the similarities between the two British models; therefore, this artwork together with Por dentro cien cicatrices might be understood as a whole subvertising campaign imagined by the artist.