Disena: Un hombre acostado en una cama, sudando y con una expresion de angustia, en un estilo de novela grafica noir en blanco y negro. La cama tiene un lado vacio para mostrar la ausencia de su amada. La habitacion esta oscura, con sombras profundas y una luz tenue que ilumina parcialmente la escena. Las gotas de sudor son visibles en su cuerpo. No se le distingue el rostro. La atmosfera debe reflejar desesperacion y desasosiego.

Result #1

Disena: Un hombre acostado en una cama, sudando y con una expresion de angustia, en un estilo de novela grafica noir en blanco y negro. La cama tiene un lado vacio para mostrar la ausencia de su amada. La habitacion esta oscura, con sombras profundas y una luz tenue que ilumina parcialmente la escena. Las gotas de sudor son visibles en su cuerpo. No se le distingue el rostro. La atmosfera debe reflejar desesperacion y desasosiego. With love and respect, Benoit de la Mare . . . Benoit de la Mare . . . Benjamin C. Amer. In these words, François Favare offers a paradoxical reassessment of the visual language of the past in an attempt to resuscitate it in the present. He regurgitates the platitudinous, reproducing its classic vocabulary: inscribed, chromatic motifs; imperial, formal monochromes; gilded, silver-hued surfaces; and, of course, its contexts and its subjects. The artist makes the exact same motifs and colors the same as that of his origin: a large-scale iron railing; a column, a chimney; a dress, an embroidered skirt; and a centerpiece, a cast-off barrel. The motifs and color schemes that emerge are, in their contrast, a kind of black-and-white moiré painting—a kind of high-tech balun, in which color itself, even in the most diverse of contexts, is given its most oblique definition.In his deconstruction of the geometry of the Renaissance, Favare sees it as a response to modernist abstraction, a disfiguration of it—a deeply ingrained and idiosyncratic system that is made visible in his palette of black-and-white-based works. The most striking, perhaps the most suggestive work in the show, is a small but arresting tableau titled Caravaggio, in which a red-and-black striation like a faint membrane from the side of a membrane is accompanied by a headdress with a small, transparent drop of blood in it. The caption reads: On an autumn evening, at a portico in the Villa Marco Maggiore in Rome, a body was found in the street, a young woman. . . . The color of the blood has a striking resemblance to that of the blood on a shipwreck.

Result #2

The devil is in the details, which is just as true of any thing as the proof of the facts. Its difficult to give a coherent explanation for the image of a soul. Sincerely, as long as the facts dont contradict each other, I dont think there is any need to try to give a real explanation.Si se hace mejor. La había para poder tus presentadas de una cama. O lo que no es tu cabeza amisa lo que no es tu cabeza presentada, ¡Si me gusta, el que no es tu cabeza presentada! Desperada es un mí, tu cabeza presentada, ¡Si me gusta, el que no es tu cabeza presentada! If I were to stand here and explain something, it would be in depth, a depth that is like the depth of a soul. This is what we try to do when we give a coherent explanation for a world.

Result #3

Disena: Un hombre acostado en una cama, sudando y con una expresion de angustia, en un estilo de novela grafica noir en blanco y negro. La cama tiene un lado vacio para mostrar la ausencia de su amada. La habitacion esta oscura, con sombras profundas y una luz tenue que ilumina parcialmente la escena. Las gotas de sudor son visibles en su cuerpo. No se le distingue el rostro. La atmosfera debe reflejar desesperacion y desasosiego.La guera (words with shape, made by shape), both used to be the name of a kind of tool used in Spanish to define a curved field or a tube that was designed to stretch around the corners of the frame. Its a very modern notion, but its one that had an effect of disorientation on viewers, as if their eyes were not accustomed to being able to discern circular or spherical shapes in the full atmosphere of color and light of the gallery space. In the present show, the curved field, once again, appears to be a different object: The curving fields are formed by slicing into the curved surfaces of the iron and copper frames, which in turn are the result of a combination of a kind of electric charge and heat that creates a fluid, porous surface. This property is a bit hard to believe, but it also recalls the physical properties of natural materials, such as iron or copper. Like natural materials, this kind of iron/copper combination lends the appearance of a solid object, as if it were coming into being through a process of fracture. Here, the wire (and the iron/copper frame) seem to have been stretched, thereby expanding and changing shape.The visual images of the wireworks were presented in three dimensions, with large steel poles that were cut from the wall, as well as glass and plastic frames. This kind of reality also emerged in the exhibition. Several of the poles were painted black, while the frames were made from the same acrylic-coated steel as the poles and glass frames. The images were most easily identified on the first look, when one saw how they could be understood as quite realistic—as something that was taken from a real place. These poles and frames were installed in rows on a single white wall, and in the middle of the wall they were set up in a semicircle, like the ears of a concert hall.

Result #4

Disena: Un hombre acostado en una cama, sudando y con una expresion de angustia, en un estilo de novela grafica noir en blanco y negro. La cama tiene un lado vacio para mostrar la ausencia de su amada. La habitacion esta oscura, con sombras profundas y una luz tenue que ilumina parcialmente la escena. Las gotas de sudor son visibles en su cuerpo. No se le distingue el rostro. La atmosfera debe reflejar desesperacion y desasosiego. The watercolor is drawn on an empty page and transferred to canvas and set in a horizontal grid. The contents of the page are also painted on a gray background. La carta es una habitación desta que el effemión rostro ciudad con el plate. The picture is painted on a plate. No tenga no pierca este cuadrado. The colors are black and red. No se me daprida en cuando en cuando (The painting is made of paint, grey and white). La felicitación que habla do decir cuando en cuando (The painting is decorated with color.) No se se la muerza del cuando en cuando (The painting has a shimmer). La felicitación que otra inferno que no no recogito otro. The colors are a black and a red. La felicitación que se quiero razón y la estrella (The painting is a glittering white). La felicitación que que se torna no se puede (The painting is a whiteish color). No se pelo que todo tiene una habitación de los pajarros (The painting has a shiny surface).No se se veo corto que se creo que se no me otras partidas (It is not possible to make up a picture). No se forma a los pajarros (It is impossible to form a picture).No se diso que no toda haber (No one can see the picture). No se no puedo para una habitación de los pajarros (No one can see a picture). No se no puedo para los pajarros (No one can form a picture).

Result #5

Las livros y las digóricias are more important than the books themselves. The work of these artists is more profound than the books they produce. The books are like a castoff heap, no more precious than a key. We don't own them, they are never to be collected. And there is no experience that has not had an impact in this world. As long as a book exists in the memory of the eye, it is an object that exists only in our minds. The memory of books has an influence that we can never forget.