An exploration of digital collage in the format of a poster. Filters and creation.
In the city of Lima, the old town is the centre of the city. The colonial square grid allows you to walk around with complete predictability and find, here and there, small squares that give entrance to the many churches of elaborate facades, broken into pieces by the game of shadows the many sculptures in them create under the sunlight. Reversely, when you enter them, you submerge in the darkness.
And there, once inside, within the naves and corridors, you will find many facades repeated to the sides. Doors to celestial realms, but this time of engoldened wooden structures, rising up to the domes above you. Flowering in their multiple twisted columns, full of angels and saints, in a concert of profusion, order and chaos, silently echoing the sprawl and disorder outside their walls.
Its abundance, if we can call that, is inspired by the baroque retables in the colonial churches of South America, specifically in the relative flatness of its profusion, as opposed to, say, the Italian or Austrian baroque, characterized by their experimental tridimensionality. Heir of Spaniard churrigueresque, Andean baroque is formulated in another way; a planimetric profusion that remains within the frames of its structure, possibly inherited from the engraved monoliths of prehispanic America, conceited under a new reality. And like that, in the confusing profusion of its images, different beings cohabitate, zoomorphic creatures of pre-Columbian appearance with figures that belong to European design, like the carved caryatid-like characters or the flowers copied from Flemish paintings, just like the American artist did then.
But if you go out, back to the street, to the noise, you would find something more pressingly contemporary. Boxes also they can be related to display windows, and as such, to product exhibition, and commercialisation. What is in an exhibition? and why?.
Poster
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Poster

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112
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Published: