Reading from Jose Diaz Diaz, Director of The Cave, school of creative writing.
The theme of this video is clear and recurring in a panoramic look at the work of Chenco. The turning point of its thematic setting is none other than the sexual instinct understood as life-death cycle engine, or "Eros and Thanatos" as Freud punctuate. And in the middle of all this vital substance, the phallus. The phallus as king and the vagina as queen and death. But exposing all that ideological Judeo-Christian is the priapism held by force by a mechanical lever. (See painting number five). This painting is the vertical criticism of a false way of taking the male-female relationship.
In 1965, the French philosopher Jacques Derrida coined the term phallogocentrism, from phallocentrism and logocentrism, to designate the primacy accorded to Western Philosophy to the Platonic logos and the symbolic of phallus. In this sense, the theme setting "chenquiana" is based on these real pillars of our contemporary psycho-philosophical thought.
But what has all this to do with the narcissistic attitude? Well, the artist is prone to narcissism par excellence above all other mortals because he emerges with the force of his individuality to develop his creative work. He is the king of self. His creation becomes thanks to the enhancement of self, to the passion of his "Narcissus" by recreating or at least create a self-referential perennial image (artwork) that replaces him and extends out through a language outside his own identity. The artist is by force a narcissist as it relies on itself to snatch from the vacuum his creation, and the self is the background from which emerges through the unconscious mind that is the created product of art. Chenco, as it is a contemporary artist is from its base, strict and inevitably narcissistic. But narcissism that reveals not a beautiful image of himself but a full picture of the human being in its underside. It reflects the dark and painful part of his condition.
The antecedents of the culture of narcissism lead us to rethink and understand the myth of "Narcissus" not as the quarry of creative expression but as self-infatuation, sexual attraction to the own body or the same individual. It includes concepts such as egotism, self-exaltation, vanity, conceit, and desire to be loved and admired. According to Freud, it is the orientation of the libido to the self. ". Being drawn Chenco’s paint from the background of his subconscious and promptly from an stage in its infancy, it suppose an infantile narcissism that failed to overcome and to add to their stage of adulthood his sharp critical weapon from its strong cultural background, becomes an image of himself and of humanity, not beautiful nor terribly banal but raw, instinctive, animal as is our inescapable biological condition.
However, there are criticisms of the superficiality of narcissistic behaviors, but in Chenco should not be seen as an empty and superfluous vanity. Chenco’s image is sacrificed in the pathos of the themes he chooses to make them the subject of his paintings. Piquis Horney described narcissism as "a psychic inflation." Narcissism imply always alienation of self and others, the social image, that "inflation" of the self that today proliferates and that in other times would have been considered lack of elegance and modesty, or even would be understood as a type of mental illness, the "megalomania". The selfie photograph has been enthroned as social cry of self-exposure. In a highly competitive environment, where efficiency is essential and the performance visible of each one. It might think that auto exposure has become so necessary and should therefore know how to sell themselves, position the I as a brand, constantly cultivate the own image, and to conquer visibility to be someone. This is the culture of individuation, of complacency, of masturbation as the ultimate expression of the self.
Furthermore, the display of the subjective is not exclusive to electronic and virtual media. In the 60s, figures such as Salvador Dali, who moved in the media world like a fish in water, made of themselves an equally or more valuable work than those listed on the art market. "Artists’ icon who knew how to turn their faces and names in real logos.
Chenco’s daffodil leads him to found the essence of his power in the symbols of the penis, paintings # 1-2-3), and always erect penis (priapism, painting # 5); the sphincter and the control of sphincters # 7). The androgynous creature (# 4) is latent in the sex symbol that is not macho to the extent that the same body shares two forces.
Art is a way to recreate the beauty, be it sublime or miserable; is an exhibition to expand knowledge, to reorganize, and that includes rational and non-rational things, conscious and unconscious things. The intuition is not an obscurantist mechanism, mystical, but it is a skill that can be trained and Chenco is an extraordinary intuitor in that regard. The artist is the one with the intuition disciplined and therefore has access to areas that who has not developed does not possess. In that sense, he intervenes in a field that is not touched by other disciplines and one that helps the general public in a brave narcissistic gesture that accompany the painter to see himself reflected on the dark side of his human condition.