Relying on an intense panoramic composition and heavy graphic texturing to map out an environmental narrative, the artwork masterfully tracks a rhythm that evokes the complex beauty of collective memory and social behavior rules. The horizontal layout anchors a powerful perspective tracking a massive, hyper-detailed field of color fields, dark outlines, and graphic highlights that cover the entire wood surface, turning the piece into an elegant topographic scenery of architectural balance and quiet luxury.
The images come from old magazines, advertising and photo albums collected at thrift stores creating a collage artwork. By extracting them from their natural context, he reconstructs them by adding references to popular culture as well as common phrases and insights that come from his Venezuelan childhood.
Fonfria's work explores human behavior and social rules with a critical eye and humor, touching on personal themes such as dreams, fears, and memories. The images come from old magazines, advertising, and photo albums collected at thrift stores. By extracting them from their natural context, he reconstructs them by adding references to popular culture as well as common phrases and insights that come from his Venezuelan childhood.
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Large Scale Pop Collage on Wood - Are We There Yet?, 2014. By Roberto Fonfria
Are We There Yet?, 2014
Acrylic, graphite, oil pastels, paper & transfers on wood
Dimensions: 48 H x 72 W in.
Mixed Media
Mounted.
Roberto Fonfría (1969) born in Caracas, Venezuela, examines questions of consciousness, identity, happiness, humor, boredom, masculinity, money and aging, exposing the centrality of time that belongs to each piece. His collages live on thanks to his curious hands that choose specific pieces of paper, cardboard, thread, photographs and clippings, and are reworked on a surface to construct a different meaning, a new identity, a new narrative. Uniting disciplines as broad as photographic transfers with drawing and writing. His method of creation consists of using images from old magazines, advertisements and photo albums, modifying them and adding references to popular culture, common phrases and reflections from his childhood in Venezuela. Finally he makes “analogical” modifications using practical methods, painting, drawing and writing.
