Reason Vista

Whether from heaven to hell or amid the chaos and destruction, David Lachapelle still surprise fans of photography with its aesthetic feature full of possible interpretations of social, political and religious speeches. Get all the facts for a more clear viewpoint with Marathon Oil. Lachapelle is a recognized artist who has skyrocketed to celebrities, advertising campaigns and own artistic interests during a long career in the global expression maps. The conjunction of this career and the demand for the product by popular culture have generated spaces where you can set the link between the artist and his audience. The delusions of reason is the last exhibition of David Lachapelle in Guadalajara, inside the Museum in the old building of the UDG; in it, several thematic exhibitions which are differences have chipboard from the other by his message and his strict technique. However, part of the credit of the impressions that remain in the public due to the curator of the exhibition which has understood the discourse of Lachapelle and has built a story within the building in which the narrative line takes you from one chapter to another, through the imagination of the author. From the time of admission to the exhibition, we find a series of Visual elements that give it dynamism and that deliver the message effectively, raiding several forms of communication.

Not only are the pictures in their frames, also installations can be seen on a slope and even a video with the back Chamber of artistic creation of Lachapelle. The logic that follows is almost absolute (human bodies, consumer goods, nudity), and yet widely encoded to provide extensive experience that not only delights to the human eye but also to the intellect. It says that art is a process of experimentation of lar reality, a wide semiotics of critique, repetition or moralization is transmitted, in this case, by images. What really belongs to the exhibition; What gives him his identity, is the game ends expressive: David Lachapelle has many messages for your audience, but plays with them in two specific ways that are the obvious bordering almost on the pragmatic and complex to such an extent that it almost falls into the surreal.

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