“I want my works to shock the viewer with the same intensity as all their parts shock each other, however small they may be. A mother-of-pearl token on a stain. A number next to a stone. A tinsel beast. A chimera of smoke.”
From 1963 onwards, after his return from Paris, de la Vega It consolidates a radical aesthetic break that defines this stage of his artistic production.
The fabrics are transformed through a DIY collage extreme where monsters and chimeras emerge that characterize the Bestiary period of the Works of Jorge de la Vega, Using discarded elements from consumer society, rough textures, wrinkled fabrics and embedded mirrors, influenced by existentialism and the crisis of traditional representational language.
