Reinaldo Ortega Sardiñas - Utopía de Titanes en el Mediterraneo

Author: Reinaldo Ortega Sardiñas 1977-XXI Spain.
Title: Series: Theatres of Democracy (2024 - 2026).
Title: Utopia of Titans in the Mediterranean - Pop surrealism
Digital collage printed on canvas, hand-intervened with acrylic paint and varnish.
Dimensions: 66 x 100 cm.
Work signed by hand by the artist.
In excellent condition
Unique edition in this format and with this ratio of characters and elements present in the composition, original.
Shipping does not include frame or wooden stretcher. It will be tracked via UPS or FeEx 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 from popular culture and from my own experience. In this way, I do not seek to reproduce reality, but to recreate it: to turn the ordinary, the historical, and the iconic into a new surreal 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 the way 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, in which 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 what seems impossible acquires coherence within its own visual logic.
Each transformation begins with a reality that I have photographed myself. From that personal experience, I construct images in which memory, history, and imagination collide, creating a new visual mythology that does not belong entirely to the past nor to the future, but to that intermediate space between them where the sacred is deconstructed, and what is recognizable is turned into 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 addressed to those who 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.