This project originates from the intersection of the figure of the poet and the outlaw. Through this framework, notions such as failure and the pursuit of redemption are thought plastically. The Dalton Brothers, from Lucky Luke, the comic by Morris and Goscinny, serve as a leitmotif, embodying the archetype of evil.
These rough, ostensibly illiterate, and criminal figures engage with poetic and plastic concerns: weaving a tapestry of clumsy and disoriented characters riddled with overthinking, the works depict cowboys incapable of reaching consensus or finding a truth to anchor themselves to. Emphasizing repetition as variation in contemporary art, these poet-gunslingers are repeatedly painted, enmeshed in an incessant verbosity of meta-artistic reflections.
Through a pictorial language that blends irony with skepticism toward pictorial tradition, paint is applied reactively: once a preliminary image has been established, it becomes possible to paint without adhering to a predetermined plan.
In this way, Variaciones Dalton works on the boundaries of the pictorial medium and the tension between the need for rationalization and contemporary emptiness, positioning itself at the threshold between comedy, poetry, and contemporary cynicism.
