We can’t forget that the project is framed in a pictorial experience settled in painting and collage techniques, which Paco Villa uses to study and admire the architecture from a non-technical point of view, but a view targeted at the shapes, colours, and spaces, among other things that he experiences from the buildings.
Rosalind Krauss said that the Photography depended on its surrounding world, the reality, in order to create images. This is applicable to Paco Villa’s artworks. The work developed by the critic Rosalind Krauss talks about the sign left by the cause, that is to say, imprints or other indications. For her, the photography is an imprint, with the need of an explanation in order to develop the meaning of the picture, which means the need for a language to express the real meaning of the picture taken.
But differing from the speech of Rosalind Krauss, the artwork of Paco Villa doesn’t need language to explain it because it relies on the aesthetic experience produced in us by the works. Besides, the artworks contain an indication from the object, in this case the chosen building. In each case, the context of the reference is not a symbol but an imaginarium, and is not settled as a social convention because the meaning differs in each person.
Paco Villa creates a plastic allegory of the Londoner architecture in this Siamese project. He creates, invents, and also reconfigures in a new way at the same time that he adds meanings and an additional value. As Craig Owens writes, the allegory feels attracted by the fragmentary and imperfect things, but also one of the strongest impulses is that it has the desire to preserve something for eternity ,which is what happens between Paco Villa and the city.
His artwork has fused with its frame, and furthermore, I can affirm that the exhibition’s project is a memento mori of past London.”
SILVIA AMPUERO about New Baroque in LONDON