The most recent series “The fallacy of Iturbide” is a poignant mark suggests the class and socialist society segregationist section is a summary of some points of social history in the trunks of the economic route.
In the photo series in three of the four works, man appears he faceless, calling rhetoric to “Any man” becomes anonymity of empathy and recognition of society itself, “any man” is the man figure fiddles on the arbitrariness of the reformative fomentation canonists.
This series influenced by photographers such as Cartier Bresson, Tina Modotti, Tuca, Lewis, Hector Garcia, Manuel Alvarez Bravo and others from a documentary thread, and the line of pictorial history as Murillo, Goya, Eisenman and some of Impressionism as: Touluse Lautrec, Monet and Berthe, in Colorimetric, shapes, forms, presentations, dimensions, imaginative and symbolic representations training spaces, are mixed together to make individual participation exposes the company on the board of economic sections, as well as its axiom networks of a social entity.
Still photography from its inception one of the visual documents that have given testimony about social situations where humanity is inserted. Photographic works have been built outside the paradigmatic nuances of art, without trying to be only a visual reference that endorses or witness the factor of economic discrimination, but a metaphorical, figurative hyperbole representation of the same social status.
The social commitment of art is to encourage new thoughts, commitments, feelings and emotions.
M.A. Pablo Méndez