Art is always future, it is always playing the ouija board of the imagination and sometimes it offers us visions that seem to be our vestiges. That feeling among many, that of finding ourselves with our own traces, is perhaps the first that offers the experience of the visual encounter with the work of Jorge Patron Le Doux.

In his recent work there are marks and graphics, there are gestural impulses, brushstrokes and brush strokes; but above all there are surfaces that tell us fragmented stories that can be about pop culture characters such as a boxer, a wrestler, the always unfortunate "Daffy Duck" or a Hollywood star; or even the kitch copy of an indispensable Picasso such as The Young Ladies of Avignon or an ancient oil painting by Velázquez, or suddenly an erotic and pop fragment of that weekly pocket-sized pasquín, the “Cowboy Book”, as decadent as usual.

Technically, to which we have already referred on other occasions, his work is made mainly with strappo, a procedure with which he paints the wall, lets it dry, removes fragments, grafts them, intervenes and transposes them, a physical fact (that of starting and paste again) that has a semantic load with a powerful imprint that has a something - or a lot - of extirpation and skinning.

As a kind of medium between the sensitivity and the memories of others, and the representation that materializes them, Jorge Patron places all these traces detached in front of our gaze. This same, by scrutinizing this partial reconstruction consummated in its large dimensions in a perforated, attacked, scratched and repainted composition, confirms in the viewer the validity of his memories, and that his imminent reconstruction is only possible beyond his eyes, in the hot springs - as cloudy as they are warm - of the imagination.

- María Teresa Mézquita Méndez

Venue: Galería México