Featured, Original Artworks, Vermibus

Vermibus · Por dentro cien cicatrices

Vermibus · Por dentro cien cicatrices

The artwork Por dentro cien cicatrices (Inside a hundred scars transl.) exemplifies the technique and the message of the whole project «In Absentia»: hijacking of consumerist culture. The original poster is the fall/winter MANGO campaign advertised in 2015 and commercialized in Berlin. The heroin is the popular fashion icon Kate Moss, a precious character in the artist’s previous works.

While maintaining the original format and structure of the advertising poster, the artist directly intervenes on it dissolving the ink with a solvent and brushing away the surface; thus, he gives it a new birth. The action of “counter-painting” is the ultimate effort to criticise and deconstruct the rigid aesthetic standards embodied by fashion campaigns; the result is the degradation of the subjects from fashion icons to skinless zombies.

Through the act of melting the colours directly on the original poster the artist distorts the facial features to which the public is accustomed and unveils the absurdity of contemporary beauty models: they lead to the homogenisation and dehumanisation of bodies. Specifically in this work, the paradox becomes real, as the image and the title evoke contradictory feelings: while the posture of the model is slightly arrogant, the gesture of the hand holding the coat confesses hidden traumas and invites to explore behind the visible. Therefore, this piece of the series presents itself as the manifesto of a powerful social critique to contemporary glamorous but artificial modus vivendi.

  • Year

    2016

  • Size

    90 × 60 cm

  • Medium

    Dissolvent on original advertsing poster

About this artwork

The artwork Por dentro cien cicatrices (Inside a hundred scars transl.) exemplifies the technique and the message of the whole project «In Absentia»: hijacking of consumerist culture. The original poster is the fall/winter MANGO campaign advertised in 2015 and commercialized in Berlin. The heroin is the popular fashion icon Kate Moss, a precious character in the artist’s previous works.

While maintaining the original format and structure of the advertising poster, the artist directly intervenes on it dissolving the ink with a solvent and brushing away the surface; thus, he gives it a new birth. The action of “counter-painting” is the ultimate effort to criticise and deconstruct the rigid aesthetic standards embodied by fashion campaigns; the result is the degradation of the subjects from fashion icons to skinless zombies.

Through the act of melting the colours directly on the original poster the artist distorts the facial features to which the public is accustomed and unveils the absurdity of contemporary beauty models: they lead to the homogenisation and dehumanisation of bodies. Specifically in this work, the paradox becomes real, as the image and the title evoke contradictory feelings: while the posture of the model is slightly arrogant, the gesture of the hand holding the coat confesses hidden traumas and invites to explore behind the visible. Therefore, this piece of the series presents itself as the manifesto of a powerful social critique to contemporary glamorous but artificial modus vivendi.