Luz Blanco

Hurricane (2018) is the collusion of a stereotypical image taken from the film The Hurricane (John Ford, 1937) with an atmosphere of digital duplication: it is a dialogue between a vision of a certain state of nature belonging to the past, and the actuality of digital images and their intangible reproduction.  In the artist’s view, drawing can be considered as a post-digital process that sheds light on the contradictions underlying such activity today. Blanco carries out a digital displacement of the notions of culture and nature, already questioned by John Ford in his film by an anti-colonial Rousseauist vision. Here, the image floats, repeats, swirls. The digital windows imprison the pictures, but also the state of body and the nature that are represented in them. This is an exercise of a constraint as a condition of their appearance, of their production and their existence. The activity of the drawer must go through the question of this post-digital nature of the image, associated with the residues that resist the digital hurricane. The cinematographic image, often present in Blanco’s drawings, acts as a memory specter. A kind of hauntology defined by Jacques Derrida, the manifestation of a trace from the past that haunts the present.