Pablo Llana (Tijuana, 1980) defined his referential frameworks 13 years ago, so to date he has great solvency in managing the expressive resources he uses, he has delved into the thematic approaches he is interested in, and he also manages with an undoubted virtuosity the materials to which he resorts. Indeed, his works generate, in our aesthetic sensibilities, reactions that can occur simultaneously or gradually, among which attraction, shock, concern, impact, surprise and rejection stand out. With regard to the issues it deals with, it is notorious that it has insisted on denouncing the morbidity and mortality that are a direct consequence of the consumption of junk products, as well as showing the colonized and even self-colonized attitudes that a large sector of the population has in the face of capitalism, with an emphasis on the United States, issues among which it has recently taken up its warning about the enormous risk that eating hamburgers entails. Llana masters, increasingly, the materials he uses to solve his works: wrappers and labels for candy, snacks, beverages and processed and industrialized foods from both transnational brands and Mexican companies that are consumed enormously in the Mexico-United States border area. As highlighted in CRAP, INC., this artist adheres to the conceptual and pop trends of the post-avant-garde phase of art history (which is the same age as him), and does so from the post-avant-garde countercultural paradigms: the glocal (local solutions for global and domestic issues), sustainability, participating in the fight for Human Rights, moving away from patriarchal-capitalist rationalism, the return to originality, as well as the commitment to recover the social utility of art.

Venue: Galería Secreta (October 19, 2022)