In 1933 Picasso illustrated the surrealist magazine Minotaure, confronting that hybrid beast of humanity with enormous freedom. Carlos Franco, on the other hand, does not make a subjective projection about the fierce inhabitant of the cunning dedálica construction but, as I have indicated, he places his gaze in the zone of the subaltern or, to put it in bullfight terms, he is at ease, knowing of that the passes and the ornaments of the teacher can end fatally.
Carlos Franco likes to take risks. And, certainly, to make his own bullfighting is not afraid of the dogmatism of the cabales or the verbosity of the detractors of the party. He admires the plasticity of the exceptional time of the bullfight, the emphatic democracy that prevails there and, of course, the radical appearance of the sacrificial.