Remember the cover of ABC Cultural magazine from May this year featuring the artistic phenomenon Carabanchel? The detailed map that placed “everyone in their place” came from his handwriting (and handwriting). Luis Perez Calbo draftsman … Like most others, it’s unconventional, fresh, and relatable.
Pérez Calvo, who has the ability to capture the pulse of a city, a traditional sense of capturing in his work what the city itself whispers to his pencil, enters through the main entrance of Centro Centro, almost zero kilometer of art in the capital, with the help of Carlos D. Mayordomo as curator, where he exhibits a selection of what he calls “artist cards”. These are 500 paintings, which he has been using for the past year. He writes in notebooks, noting the sensations caused by visits to the capital’s museums, galleries, workshops of other colleagues, and does not forget vacations to other latitudes ( CA2M Guggenheim bound for Bilbao).
He placed his suggestions on selected ones and in a mural created freehand on the spot on the center wall. Influence of B-movies and comics (Let’s call them “comics”) and the vinyl covers are a homage to the artist’s childhood methods of collecting popular prints (not all of them soccer) into sealed envelopes, practicing on Sundays near Rastro.
As a result, the public and private spheres, proper names, sharp annotations (recognizing everything from the exhibition at the ABC Museum to the recent project with Alvaro Barrios and Fernando Pradilla with his “Popular Prints”), where the most important thing is the temporal continuity of the story (from the historical appointment of Queen Sofía Art to the welcome of the newcomers at Dr. Fulque, the times overlap) and the temporal continuity of that story. Authenticity. This is Lewis’ “Artist Sticker” album. It is as greedy as its owner’s imagination.
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