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Having decided to return to his personal hometown history, he burst into the art scene in Paraguay in the 1980s, with a vehement, straightforward kind of work and image filled with expressiveness, animated by a great sense of humor, and a concern about the conflicted human condition, aspects that would later permeate his whole artwork. This conflict has basically been intended in terms of a tension between the subject and the adverse or complicit time that conditions it, that limits it and redeems it. Simultaneously, connected with the idea of domesticity and the guidelines of industrial aesthetics referred to the multiple conflicts that overwhelmed the panorama of the contemporary aesthetics and faithful to his time, Feliciano knew how to detect in the air the presence of complex questions of entangled oppositions that perhaps posed as unsolvable, and that were connected confusingly with pure interrogations, with errant metaphors that looked for nothing more than a scene in which to present themselves without trying to reveal figures or giving away the idea of secrecy.