The Series of

Las Pinzas

La Pinza - Self Aware

2020, oil on canvas, 65 x 46 cm

We see a beautiful portrait held up by the steady, almost challenging gaze of a young Asian woman. The body is in profile and her face flashes a three quarter stare. She wears a semi-open white shirt that reveals her breasts, one is which is clamped by a wooden clothespin. The arms cross behind her back and her right hand appears from the back of the left side, with her fingers hooking the hem of the shirt. 

The skin infers softness with subtle gold contrasts. The glaring juxtaposition between the finger, direct stare and act of submission via object, grow on the viewer as they explore each subtle message contained in this complex piece that emulsifies obedience with rebellion.

Sergio says: “We are usually comfortable in the known. We naturally create and accept environments where everything matches, where everything makes sense. In this painting I propose to experiment by decontextualising a small object and try to understand the meaning that this alteration provokes in me.”

We see a beautiful portrait held up by the steady, almost challenging gaze of a young Asian woman. The body is in profile and her face flashes a three quarter stare. She wears a semi-open white shirt that reveals her breasts, one is which is clamped by a wooden clothespin. The arms cross behind her back and her right hand appears from the back of the left side, with her fingers hooking the hem of the shirt. 

The skin infers softness with subtle gold contrasts. The glaring juxtaposition between the finger, direct stare and act of submission via object, grow on the viewer as they explore each subtle message contained in this complex piece that emulsifies obedience with rebellion.

Sergio says: “We are usually comfortable in the known. We naturally create and accept environments where everything matches, where everything makes sense. In this painting I propose to experiment by decontextualising a small object and try to understand the meaning that this alteration provokes in me.”

La Pinza - OrdeR

2021, oil on canvas, 81 x 73 cm

Sergio ascribes the origin of the clothes peg, as an element in his work, as a metaphor of self-punishment for reasons of ideology, such as a religious feeling. It is a vintage “costumbrista” that proposes a discussion of postmodernism.

 

When it seemed that the contemporary Western cultural world was taking giant steps in the consolidation of certain freedoms, it showed as a banner the almost non-existent censorship in the field of artistic creation. But then, everything goes wrong. The character of his work is perfect, beautiful and powerful. She pursues her own order and decides her own punishment.

On a more technical note and in comparison with the majority of Sergio’s works, it should be noted that in this piece he  raised the value contrasts and chroma, the latter which helped in the choice of clothing and sofa complementary to the dominance of the skin.

Sergio ascribes the origin of the clothes peg, as an element in his work, as a metaphor of self-punishment for reasons of ideology, such as a religious feeling. It is a vintage “costumbrista” that proposes a discussion of postmodernism.

 

When it seemed that the contemporary Western cultural world was taking giant steps in the consolidation of certain freedoms, it showed as a banner the almost non-existent censorship in the field of artistic creation. But then, everything goes wrong. The character of his work is perfect, beautiful and powerful. She pursues her own order and decides her own punishment.

On a more technical note and in comparison with the majority of Sergio’s works, it should be noted that in this piece he  raised the value contrasts and chroma, the latter which helped in the choice of clothing and sofa complementary to the dominance of the skin.