Sr. Gotta

Marco Prieto / Sr. Gotta (Madrid, 1992) develops his artistic practice through painting, from which he problematizes the notion of authorship and the hegemonic identity of the creator subject. In his work, he substitutes the brushstroke understood as a personal gesture for the blow as a primal, original gesture, transversal to the human experience, shifting painting towards a territory where action takes precedence over individual expression. This operation allows him to overcome the romantic relationship with portraiture and radicalize it, transforming it into a field of tension and confrontation. The impacts on the canvas and the unpredictability they generate activate a space where the boundaries between the controlled and the accidental blur, expanding the limits of portraiture as a device for questioning mechanisms of personalization, supervision, and identification. Through this exploration, Marco Prieto constructs ambiguous semblances of power that overflow the individualistic vortex and directly appeal to the spectator's human condition, situating the work in a territory of friction between identity, violence, and representation.

Financial information

Signature value

14.78

Accum. revaluation

17.85 %

Abstraction

Abstraction addresses violence as a phenomenon inherent to the human experience and to the socio-cultural structures that organize contemporary life. Far from understanding it as an origin, the series focuses on the conflict that precedes it: that prior friction —political, social, economic, institutional, or symbolic— which, when it finds no instruments of resolution, leads to violent action. From there, Sr. Gota proposes a dialogue that activates consciousness and breaks with normalized apathy, shifting the gaze from the visible impact to the conditions that produce and sustain it. On a formal level, Abstraction marks a reductionist turn that does not soften the blow, but rather makes it more precise. The work purifies elements to highlight the materiality of painting, keeping the stroke, the stain, and the splatter as protagonists, but placing them in a territory of fragility and limits.