An architectural statement within the discipline of international collections of photomontages of male nudes. Part of Celso José Castro Daza's acclaimed Pre-Columbian Fantasy series, this singular physical creation treats the archival sheet of paper as an analytical laboratory for the underlying psychological and identity tensions. The vertical arrangement follows an intense graphic rhythm, where the prominent figure of Colombian Caribbean art coordinates a laborious matrix of perfectly graduated photographs to construct a monumental man without any major distortion. The arrangement blocks any digital artifice, isolating a standing model who gazes at the voyeuristic viewer with a brazen stare, playing between vanity and seduction while draped in a light textile element, surrounded by a checkered red terracotta floor and a backdrop of ethnographic
The root of these unique photomontage works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from the photographs he took with his camera larger versions of those pieces, but having only registered his models with a single photograph it was impossible to achieve, given this need he adopts the language of fractionation completing the message he wants to transmit through his work. Castro perfected his technique throughout the years, now on he takes numbers of photographs of his subject, which are then assembled to conform a unique photo collage without distortion of the main image, gluing all the images on a single sheet of archival paper, the final work consisted of the perfect graduation of many photographs to achieve his monumental man.
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Male Nude Photomontage - Fabian, 1995. From Precolombian Fantasy by Celso Castro
Fabian, 1995
From The Series Precolombian Fantasy
One-of-a-kind Photomontage on archival paper
Dimensions: 27.5 H x 19.5 W in.
Color Photography Collage
White wood frame
Celso Castro is a referent of Colombian Caribbean art who has been drawing men for more than four decades, studying at the Pratt Institute in New York. In his works, Castro exalts the male genitalia, putting into tension the limits imposed by the sex/gender system that are part of an unquestioned patriarchal and phallocentric order. Most ment the ones he portrays are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos on corporality and male sexuality, his work has been censored on many occasions due to public accusations of immorality and pornography.
