In Pintura animal Jorge Galindo (Madrid, 1965) criticises on several different levels: the false interpretation of abstract painting, the excess in domestic decorative order and the abundance of images that surround contemporary humans.
Regarding the first, the artist evolves in relation to previous work and produces his first figurative compositions in painting, following from his pieces on patterned fabrics and photographic collages. In them he opts to work on large pictorial surfaces, made of blankets, cloths and rags.
As for the vocabulary developed, in these tables nods to gestural, romantic and postmodern abstraction are seen. The colour red dominates the seven pieces in this series and on it the representation of a dog stands out. The inclusion of this figurative element appeals to the second factor, calendars and other objects with animals that, carrying an almost kitsch aesthetic, decorate many houses.
Galindo's gesture is reflected in the fact that it complements and modifies the images and iconography peculiar to the intimate and domestic with other motives which are also private consumption, such as pornography. In this way these large figurative portraits of dogs and other animals are complemented by a female torso that holds her breasts with both hands. In other cases, he positions male sex organs near the mouth of the animal.
The purpose is the feeling of displacement and distortion produced by the resulting images; iconography derived from a particular combinatorial, from the critique of mass culture of the print media.
The collection of paintings synthesises the lack of filters by the reader and consumer, which leads to the appropriation and the indiscriminate use of visual references of graphic origin whose value and original meaning is invalidated or ridiculed.
Conversely, with his work Galindo emphasises on revealing the painter's craft from a creative process and from the desire to make visible its complexity. All these pieces are part of his last personal research, whose starting point is brute painting, in the words of Rafael Doctor, Coordination Manager for Espacio Uno
In this case, he finds an offshoot in his experimentation with pictorial languages which accommodate the messages. In this way, the combining of freedom of implementation with the chaos of contemplation results in a considerable contemplative violence while at the same time generating a personal path toward the development of Abstract Art.
Reina Sofia Museum's Publications