Watercolor, acrylic with airbrush and oil on handmade paper.
Painted surface 66.5 x 96 cm. ( 26.18 x 37.79 in. ) in a format of 70 x 100 cm. ( 27.55 x 39.37 in. )
Year of realization 2016
Signed on the bottom right of the piece.
Published inside the author's book Projects 1 "Goddesses", page 47.
Among the most well-known works by Luis Royo, one can observe this constant of confronting monstrosity and rot with the ideal of beauty and harmony. A beauty that for nothing is "at the service of" but provocative and dominant challenges unattainable to the Universe.
This is one of his few paintings in which he uses a higher format than usual, as if he wanted that ladder to be offered heavier and harder to our eyes. The use of gold on the skin, the treatment of extremely dead colors (almost asphyxiating fantasy) and the format of the piece, make it a clearly emblematic work.
Perhaps all its clear symbolism and the details mentioned have been the reason why this work has been darkly kept until now.
All works selected for the special "Dreaming in the Labyrinth" have in common that they belong to the most personal works of the authors. They are that type of work that is created without the specific objective of reaching an exhibition or a book. Those pieces that the artist makes to reaffirm an idea, the beginning of a project or find a plastic solution. These are works in which his original motivation is the intimate and private dialogue with the author himself. And before the intention of that work belongs to a plan, we have considered in Laberinto Gris that showing a grouped part of these works would be an attractive challenge for us. A privilege to be the first to show them to the light.
Fantastic art, also known as imaginative realism, distinguishes itself from other art forms by portraying ancient myths and legends, modern day fantasies in the form of misterious interventions, the imagination, the dream state, the grotesque, visions, and the “uncanny” as common everyday elements. While the widespread prevalence of imaginative realism is relatively recent in popular culture, this genre is a staple in art history, beginning with the rise of romanticism in the second half of the eighteenth century as artists began to present imaginative imagery for narrative and emotional impact, rather than allegorical or historical meaning. At the Edge is the first exhibition to place this genre in its correct art-historical context as an evolution of the great realist painters of the past.
- The Allentown Art Museum.