Ictus. Exposición realizada en febrero 2018 en Madrid Art Week. Espacio Ciento y pico
Welcome to the era of misinformation and overexposure to visual stimuli! Today’s society has free access to news and knowledge, but the effect achieved is instead a new form of ignorance; we are all internetologists and superficial, we look for immediacy in easy answers, we lose ourselves in useless dilemmas.
Miguel Caravaca proposes in his exhibition “Ictus” an antidote to counter through art this illusory carnival of contradictory elements that come to us through the internet monster.
His pieces reveal misty news read by the artist on the net, like the placebo effect of prozac, together with the urgencies of our time generated by aspirations and desires never satisfied and always growing; the absolute immediacy, the unbridled search for pleasure at all costs, the need to be loved and happy at all times … that are staged through brief, but clairvoyant messages. Miguel Caravaca appropriates in addition to characters extracted from advertisements of the fashion world to reinsert them in other contexts (on the other hand, nothing far from the original advertising intention). These figures watch us from the coldness of their eyes hidden behind sunglasses; blind to the absolute truth but always glamorous and seductive.
Caravaca’s creative evolution led him to introduce different elements on acrylic, the original basis of his work, and enriched it with references of the collage, influences of pop art, street art and expressionism in its purest form, giving special attention to typography, which with the figures and vibrant colors, are some of the most relevant characteristics of this new drift of the artist.
From Ictus the viewer is invited to reflect on this constant programming that we suffer from an ironic and entertaining perspective, also offering the opportunity to close for a while the exposure to the ambivalent digital tangle that surrounds us and enjoy a moment of the detoxification, through the aesthetic experience proposed by Miguel Caravaca.