TondoSmilingwork deals with the aesthetic experience of the image as a myth in the post-internet era, and the work questions the ability to respond to new paradigms of the image in a technological world and with direct confrontation with the turbulence of its time. The work builds a neo-drop aesthetic that represents the individual. The myth is no longer Marilyn but a YouTuber.
The work proposes a reflection of the capacity of the individual person to recognize himself in a new connected society. It looks for the way people look at themselves and what it does is to analyse it and turn it into art. It works with images and materials that come from the Internet, as well as the way we have to consume information in the 21st century. The screenshot are manipulated and decontextualized, and then they become pieces that work as devices which pose a question and support a critical idea about society.
In the 19th century the artist decided to leave the studio to capture the reality on the canvas, looking for more contact with the realism. The avant-gardes of the 20th century decided to turn towards a more subjective look. In the 21st century, with the expansion of the Internet, a new virtual reality opens up new questions that will affect the definition of the human being and the society where we inhabit. The unstoppable expansion of information through the network reveals a new model of society that poses new challenges to art.
This series of work deals with the idea of myth through selfies, a consumer society, the global conversation and the global image, the meaning of semiotics on the internet on an economic and psychological level through likes and emoji, the private against the public, or the absurd, the banal, the superficiality or the glamor, as signs of intelligence in front of the machine.
The works are made of different languages as well as materials, where there is a tension of one or several concrete facts. Painting, image, video and space dialogue to create new spaces of thought that question the value of the image and digital communication. The works are transformed, and push their own concepts to issues that art did not face before, renouncing the empirical but embracing its content.