Carlos Franco

"Con mucho arte"

Fernando Castro Florez

On this occasion, Carlos Franco introduces us to a journey from the mythological, the union of feeling and style to address the theme of bullfighting, from classicism to contemporaneity, through an overflowing chromaticism, inspired by Brazil.

Franco portrays the scenes from the arena, and not from the bleachers, bringing a touch of drama, magic and mortality, which makes us interpret the party as an individualistic space and at the same time as a ceremonial fraternization with the others.
"Con mucho arte" | Fernando Castro Florez

Works

  • Serie ermitaños 83

    Carlos Franco

    "Serie ermitaños 83"

    2005

    58.30 x 177.20 cm

    Paper

    Digital printing and screen printing (Ed. 4/5)

  • Ermitaños 85

    Carlos Franco

    "Ermitaños 85"

    2005

    58.30 x 177.20 cm

    Paper

    Serigraphy

  • Parto de los montes II

    Carlos Franco

    "Parto de los montes II"

    2005

    100.00 x 122.00 cm

    Methacrylate

    Mixed technique

  • Primavera

    Carlos Franco

    "Primavera"

    1998

    81.10 x 64.50 cm

    Paper

    Etching and aquatint

  • El invierno

    Carlos Franco

    "El invierno"

    1998

    81.10 x 64.50 cm

    Paper

    Etching and aquatint

  • El otoño

    Carlos Franco

    "El otoño"

    1998

    81.10 x 64.50 cm|114.00

    Paper

    Etching and aquatint

  • Verano

    Carlos Franco

    "Verano"

    1998

    81.10 x 64.50 cm|97.00

    Paper

    Etching and aquatint

Reviews

FRANCO

WITH A LOT OF ART

FERNANDO CASTRO FLÓREZ

 

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.

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