Reinaldo Ortega Sardiñas XXI España 1977 - Utopías de Akira kurosawa y Tshiro Mifune con Steve Mcqueen en Tierra de Isabel la Católica -

Author: Reinaldo Ortega Sardiñas 1977-XXI Spain.
Series: Cocaine for Isabel la Católica (2026) Pop surrealism.
Title: Utopias of Akira Kurosawa and Tshiro Mifune with Steve McQueen in the Land of Isabel la Católica - XL format - Pop surrealism.
Digital collage printed on canvas, manually intervened with acrylic paint and varnish.
Dimensions: 66 x 100 cm.
Work signed by hand by the artist.
In excellent condition
Unique edition for this format and with this arrangement of characters and elements present in the composition, original.
Shipping does not include a frame or wooden stretcher. It will have tracking via the UPS or FedEx website.

Statement — Reinaldo Ortega Sardiñas

My work develops within contemporary surrealism, incorporating influences from Pop Art and Urban Art. From photographs I have taken myself, I recreate and transform scenes, characters, symbols, and images drawn from popular culture and from my own experience. In this way, I do not seek to reproduce reality, but to recreate it: turning the everyday, the historic, and the iconic into a new surrealist construction where memory, popular culture, irony, and contradiction can coexist.
These unexpected combinations may seem irrational, but they respond to an internal logic. They reflect how memory, culture, and contemporary visual experience constantly bring into contact distant images, stories, and meanings. By collapsing chronology, I create a space in which the viewer progressively moves from photographic reality to the imaginary, where the past is not limited to surviving but mutates and generates possibilities for an unpredictable future. I am not interested in reconstructing the past exactly as it was, nor in predicting the future. I seek to create a space between both, where reality can be reimagined and where the seemingly impossible gains coherence within its own visual logic.
Each transformation begins with a reality that I myself have photographed. From that personal experience, I construct images in which memory, history, and imagination collide, creating a new visual mythology that does not belong completely to either the past or the future, but to that intermediate space between them where the sacred is dismantled, and what is recognizable becomes an object of reflection, irony, or contradiction. I do not seek answers; I generate frictions. Because in the clash between the iconic and the absurd, between the revered and the banal, the distorted mirror of our time emerges.
My works are directed at those who have made freedom a form of resistance and who still recognize themselves in dreams, excesses, contradictions, and cultural conquests of the decades that transformed the twentieth century.