Loculus Decompositionis (2024) Digital Arts by Francisco Tabakman (Frankly Tired)
"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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Usage: Web Licence
| 1050 px | ||
|
1500 px |
| Dimensions of the file (px) | 1050x1500 |
| Use worldwide | Yes |
| Use on multi-support | Yes |
| Use on any type of media | Yes |
| Right of reselling | No |
| Max number of prints | 0 (Zero) |
| Products intended for sale | No |
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Art image bank-
This work is an "Open Edition"
Digital Arts,
Giclée Print / Digital Print
on Paper
- Dimensions Several sizes available
- Several supports available (Fine art paper, Metal Print, Canvas Print)
- Framing Framing available (Floating Frame + Under Glass, Frame + Under Acrylic Glass)
- Artwork's condition The artwork is in perfect condition
- Categories Digital Arts under $500 Outsider Art Esotericism
La puerta, usualmente un símbolo de acceso y salida, se transforma en una reja de metal, barrera que, en este contexto, representa la imposibilidad de escapar de la violencia que se desata dentro. Esta puerta está bloqueada por lo que parecen ser unas manos gigantes y deformes que se entrelazan entre las hendiduras para sujetarla, simbolizando el control y la opresión ejercidos sobre aquellos que intentan buscar libertad. Este elemento visual impactante destaca la paradoja de la habitación como un lugar supuestamente seguro, que, no obstante, se convierte en una trampa difícil de abandonar.
La lámpara, en lugar de ser un elemento común del hogar, se presenta como una que podría pertenecer a un tinglado o un lugar en reparación. Esta elección visual simboliza la claridad y la conciencia de la situación. En lugar de la cálida luz que ilumina un hogar, esta lámpara proyecta una luz cruda y despiadada sobre la realidad del maltrato doméstico, destacando el dolor y la vulnerabilidad de quienes sufren en este entorno.
Las gavetas entreabiertas en la habitación revelan un complicado entramado de pensamientos y estrategias de escape. Cada cajón representa una variante de pensamientos, desde la negación hasta la fantasía escapista, utilizados como mecanismos de afrontamiento para soportar el tormento de la situación. Sin embargo, estas gavetas, a pesar de estar entreabiertas, se muestran vacías, reflejando la escasa esperanza que subsiste en este contexto. La ilusión de escape se disuelve al enfrentarse a la cruda realidad de un entorno sin soluciones fáciles.
Las paredes y el suelo, hechos de piel y carne viva, añaden una capa adicional de simbolismo. Estos elementos visuales representan la dualidad de la seguridad interna y las heridas emocionales causadas por la violencia doméstica. La piel, símbolo de protección y límite entre el yo y el exterior, se convierte en una metáfora de la vulnerabilidad, ya que es utilizada para construir las paredes que rodean este espacio claustrofóbico. La carne viva, por otro lado, evoca las heridas internas y externas, ilustrando el dolor físico y emocional infligido en el transcurso de una vida marcada por el maltrato.
Related themes
My work is a critique of the conventional and a challenge to the habitual, going beyond what is commonly displayed in galleries focused on decorative art. Art must transgress, address, and confront the issues of our society in order to build a better world; I firmly believe that art should be more than depicting painted houses, pretty vases, and fruit in a bowl.
My pieces reflect violent, cruel, erotic, and even vulgar characters, addressing worlds ignored by the more privileged social classes. They are born from dialogue and friendships with the mentally ill, the hungry, those exiled by dictatorships, and the socially displaced. From this exchange, and in conjunction with my own experiences, images cross and concepts merge, giving rise to surreal and dreamlike illusions filled with horrible, nightmarish situations that give voice, form, and color to these figurative worlds.
I present dark landscapes, industrial and liminal spaces, where surprising, horrible, and occasionally marvelous elements fall incessantly. Nothing is safe or reliable. Just as Francis Bacon studied movement in search of a more cerebral figuration, I also incorporate the cruel aspects of society and the human decay that characterized Francisco de Goya’s work.
My creations act as mirrors, reflecting situations marked by intrusive and enraged thoughts. Through them, I explore horrors, disillusionments, and the desolation of those who, like me, have clashed with a society incapable of understanding the different and the unheard. My purpose goes beyond mere creative exercise; I seek to honor those who have lost the battle against depression, anxiety, and other mental conditions, while also sharing my own struggle.
I strive to imbue my works with a deeper dimension, inviting the viewer to appreciate the neurodivergent and extraterritorial perspective. Through these challenges and reflections, I provoke an introspective analysis of past experiences, connecting with emotions that perhaps have yet to be explored by the audience.
Mine is a technical approach to art, rarely seen in the national scene, if not entirely unprecedented.
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Nationality:
PARAGUAY
- Date of birth : 1988
- Artistic domains:
- Groups: Contemporary Paraguayan Artists
