My artworks are usually structured on multiple visual and semantic layers of contrasting iconographies from which a concept emerges. For the Wonderland series I resorted to found objects, mostly containers/labels of consumer goods, and pornographic images, all of which morphs into a sort of palimpsest when superimposed on abstract expressionist backgrounds. The series comprises several paintings on canvas, 9 assemblages on plywood (The POLIsexyGONS suite), and a number of works made on a cheesy wallpaper pattern stamped vinyl that compose The Wonder Banners suite.
This new series analyzes the recurrence of sex in commercial advertising, and women in their double roll as a target and a commodified “object of desire” for those ad campaigns. As Marshall McLuhan noted, “the ad men are constantly breaking through into the Alice in Wonderland territory behind the looking glass, which is the world of sub-rational impulses and appetites.” This sex narrative carries a dark metaphor of our zeitgeist, while emulating the obscenity level of certain social, economic and political events we are currently witnessing in Europe and North America. Sex served as a side dish for finances and politics or a naughty collateral for toxic mortgages.