DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characterize us in our concrete individuality, make us unrepeatable and yet resist us. That chain of molecules constitutes a conglomerate of clues that someone elucidates because we do not know how to read it. We do not know the links that make up that nucleic acid that delineates us and characterizes us genetically. Curious phenomenon of not having access to such precise and accurate data about oneself. They skimp on us, they deny us despite having more authority than anyone to know their own characteristics. The geneticist, the scientist, is the one who can illustrate our exact and unique genetic conformation. We are carriers of a key that identifies us but we do not know. Alec Franco's DNA work inquires about this secret and inaccessible figure and displays these nucleic acid segments from color, shape and texture. DNA visually and plastically explores the morphology of our genetic sequence. Franco's series investigates that cryptography, its textures and nuances in a tension between the hidden hereditary transmission we carry and the manifested and displayed visually by his work. It raises the horror and emptiness of the encounter with oneself while his palette proposes the fullness and joyful plethora of those who reach self-knowledge, overcoming the initial horror of the encounter with their own identity and uniqueness that we carry without certainties. DNA proposes a way to access that knowledge that is elusive to us by another way, the artistic one.
Séptico II and I Diptych, 2022
Séptico II and II Diptych, 2022
From The GEN/ADN Series
Acrylic paint and pastel on canvas
Dimensions:
Overall size: 90 H x 140 W cm.
Individual size: 90 H X 70 W cm.
Signed by artist
Unframed
The artist's works are based on time and on informal aesthetic principles that he chooses to express himself. It is through the presence of color, combined with an abstraction sometimes with tints. Expressionists and many other surrealists, where the work expands in formats and supports (acrylics, oils, pastels, charcoal, asphalt paint, synthetic enamel, on canvas, paper, wood, and steel) that transit and overlap crushing apparent figures on heterogeneous backgrounds. The work resists being framed in concepts, it goes beyond the contours and limits of the rational. It is not just a festival of colors, but a mixture and profusion of organic forms with a geometry that is not perceptible. The work generates a sensation of fluidity, of fluids, of movement. the sensation of being in a cellular space, inhabited by atoms and particles, which are in constant motion. This suggests a body space within the body. Some microorganisms and microscopic systems. It generates a sensation of Macrocosm and microcosm. Where the artist asks: are we one or are we all? Are we something unique, or individual, or are we all interconnected or interdependent? How is it that such a small universe in turn reproduces itself in everyone, thus becoming an immense massive universe? How can I understand the movement from the smallest universe to the largest universe? What makes that happen?
