Retrocorionica is a series of paintings that are scanned and then digitally assembled to create a procession. After the preliminary drawings are transferred on canvas, the paintings are realized in the traditional oil technique. They are then shipped to a photographic studio where they are scanned to obtain large 500 MB files. Finally, they are joined together in a frieze.
In a parallel way, the thematic focus is on how we dismantle and recycle symbols through time. The starting point is an assertion that seems to hold value and truth (either positive or negative), which is programmatically contaminated until a metamorphosis has been achieved.
The format of the procession has always been a vehicle through which artists define community, from ancient friezes, religious sagre, state-sponsored military parades, to Fellini's cinematic processions. Retrocorionica employs a deliberate awkwardness that seeks to give a realistic depiction of the modern day cult of personality and its grotesque exaggerations.
The project sabotages the historical baggage associated with figurative painting through the combination of the distortion of the figure, the annulment of the background, and the challenge of the assumption that a painting is autonomous.
Influences include Leonardo's physiognomic studies, post-war Berlin painters, Paula Rego, and Philippe Petit.