Identifying archetypes in contemporary culture and replicating mass media appointed characters or groups is, perhaps, José Luis Rojas' main obsession. Yet even more relevant for him is to appropriate the mediaticcompulsion, shaping through a no less obsessed mastered craftsmanship: self-fabricated toys and modelism. Rojas feedbacks that mass media predictability, overflow and cacophony -which seems aligned with doctrine rather than informative task- as a twisted iconography, naively turning the given morale upside down.
Placebo / Nocebo, a horizon line of medicine cages, patented for the healing of a wide spectrum of symptoms (and developing quite a variety of side effects as well), displays the names of some of the most prominent intelligence, policeand military Mexican agencies. These seals are sortedby date of creation, evidencing the proliferation and ineffectiveness of each and every national security program behind them.
V series, the group of tiny military vehicles and assault weapons replicas, mocks the development of warfare technology, which constitutes a highly profitable industry thanks to the convenient nurturing of conditions resulting into armed conflict. This industry has proven successful in stimulating economic and scientific development for its further capitalization. At the same time, each one of their components is linked with another sort of technology, a rather improvised one, used for the proper handling of various substances, in order to making the best out of the recreational experience.
Rojas practices sculpture in the classic spirit of statuary. Yet, appropriating certain styles from the scaling and objects provenance, he inevitably satirizes the solemnity of both, models and events.
The Warring States hilariously refers to the distress, havoc, alarm-state prolongation and the disruption of order, turning it into (S)tate, condition, and habit. This eclectic and bright display warns, in its own scale, shrewdness and irony, outbreak as the rule.