soma-trans-lucid

year: 1991.

authors: A. Molinero Cardenal / Manel Esclusa .

(...) Gabriel Lacomba in his series Soma-Trans-Lucid, mixes two clearly residual metalanguages, which are systematically discriminated in the visual ecosystem: the pinhole camera and the photogram, grafting performance and body-art on to the two technico-semantic codes, in the originals that are unique, 60X50 copies in which corporal traces recompose real dimensions. Once again, Lacomba introduces overtly autobiographical elements into his troubled artistic ideology, camouflaging himself amongst expressionist-looking chromogenic tones, tearing apart his ego amidst incandescent atmospheres in which subject and object, concept and form, silhouette and phosphorescence, graphics and psychoanalytic chaos form a mirror of his own I, of an alter-ego in which the primitivism of the fingerprint, obsessively portrayed againts an ambiguous and multiform face, perfectly expresses his tormented photographic gesturalism, that being and not-being, that constantly seething soul, that sombre abyss in permanent decay, which is the work of Gabriel Lacomba.

* Fragment of the introduction text of the catalogue of the Biennal of Barcelona 91