Sabemos que la calidad de la obra de un pintor depende de la cantidad de pasado crítico que lleve consigo. Chenco, con su humor negro, satírico, mordaz y ácido, plasma sus imágenes en un caleidoscopio de tonos lilas y rosados, blancos negros y rojos; verdes azules y amarillos, guiñándole el ojo a los grises y cafés; se nos devela como un demiurgo maligno que nos arroja sin compasión al infierno de nuestras contradicciones esenciales; transgrede los interdictos sociales y nos sitúa frente a las transgresiones que parecieran denigrar de la condición humana. Quizás solo sea un “perverso polimorfo”, como dijera Freud de los niños impacientes. No solo Falocentrismo puro y escueto el de Chenco (el símbolo del pene como centro del universo) sino lo que parece sustantivo y substancial a las raíces fundamentales de nuestra cultura: Falogocentrismo entronado como ideología controladora y autoritaria.
New video of Chenco: The Sin of Onan
Reading: Jose Diaz Diaz
Director of The Cavern, creative school of writing in Florida, USA.
The thematic cycle of the videos of Chenco continues and this time with nineteen paintings of the cartagenean artist whose paintings revolves around the biblical quote in the book of Genesis 38: 4-10.
It is noteworthy the valuable collaboration of the Colombian filmmaker based in Paris José Ignacio Ruiz, who has helped conceptualize and select the material for this work, and Patricia Franco-Gomez, painter and wife of Chenco, who gave her talent in the photographic part of it. Thus, it comes out this audio-visual of the real world, imaginative and dreamlike made shape, color, and line of postmodernist Colombian artist based in Florida.
With profuse and repeated insolence Chenco cornered us in this video dedicated to the "sin of Onan" with disturbing images that exacerbate the hidden taboos located at the depths of our consciences.
Chenco hates hypocrisy and despised as a slap at last to freedom of thought. Therefore, the ethics of his pictorial universe is especially incisive when his paintings recreate themes of collective censorship, uncomfortable to see, uncomfortable to explain, but which are present in the universal imaginary and history written of our Judeo-Christian as the Bible. Hence the title of the collection: The sin of Onan, underpinned with biblical verses: Genesis 38: 4-10; I Samuel: 20-17; 2 Samuel: 1-26.
Whether in oil on canvas, or over prepared wood, the painter of Cartagena de Indias, manages to come to the surface of our consciousness a collage of contradictory feelings that shake the foundations of our moral (double?) Confronted with unusual images, (perhaps obscene, perhaps naive), that dance in a demonic way between rows of strange symbolism, as bastards aesthetics of a Dadaist aesthetics and a Dali surrealism. And as naive naïf painter merges with the pictorial tenderness of Miro drawings, and it moves us at the same time that frightens us.
We know that the quality of the work of a painter depends on the amount of the critical past that carry. Chenco, with its black, satirical, caustic and acid humor, draws his images in a kaleidoscope of lilac and pink tones, white black and red; blue green and yellow, winking at the gray and brown; he revealed as an evil demiurge who mercilessly throws us into the hell of our essential contradictions; transgresses the social injunctions and confronts us with transgressions that seem to denigrate from the human condition. Maybe just be a "polymorphous perverse," as Freud said of impatient children. Not only phallocentrism pure and brief of Chenco (the symbol of the penis as the center of the universe), but what it seems substantive and substantial to the fundamental roots of our culture: phallogocentrism enthroned as controlling and authoritarian ideology.
In Chenco, Phallogocentrism made verb and complete truth is, the symbol of the phallus as king rector of all knowledge, leads him to deplore the obsolete thesis of use sex only oriented to the reproduction of the species, and joins the thesis of the sexual exercise for recreation and pleasure. Eroticism around the phallus as a maximum of life-and so high at the time of orgasm that flirts with the thresholds of death. That would be the sense of petite morte that the French would say. Of course, spinning finite, such conceptualization of the relationship between female and male gender is deep and woefully macho and, of course, that deserves the condemnation of the feminist and all fair humanist and sensible as it is the same Chenco.
Chenco rejects homophobia and is permissible with anal eroticism; recreates in his paintings bisexuality as "libertarian"; Triplets are welcomed and applauded in his paintings (paintings that are festooned with bright butterflies and wild flowers); he becomes chronicler of zoophilia and bestiality involving the whole animal kingdom (rational and irrational) in the feast of the senses. His dreamlike world has no limit on the quadrants of his excessive pictorial freedom.
Let's watch the video with naked eyes and bewildered consciousness. We will follow the rope to this great fool who says what he can not say and which transforms his ingenuity in art by constructing art history with his drawings and paintings full of savage satire and socio-cultural critical and religious.