vol. II
PAINTINGS
(telegraphic personal notes)
the end. (100x80cm).
on the past, full of ends. gangbang entertainment presents: DONE. karma police, â‚Ź400.00. winter, gluttony, accident, all of the above. zap, zap, zap, zap, zap, every memory looks very much like an accident, unrecoverable. . consequences .
burroughs bullet. (140x140cm).
mordida, infamous, art, miserable. on Sept 6, 1951, Burroughs said to Vollmer, “it’s about time for our William Tell act”. she placed a whiskey glass over her head, Burroughs aimed and shot. she was dead before the whiskey glass broke to the ground. the bullet got in and out Vollmer’s skull, cleanly. Burroughs became a writer because of this, he later said he started writing because the only way forward was to write his way out. (dedicated to Vollmer and Burroughs, and to insanity in Love).
María Dolores Estévez Zuleta (1906–1959), commonly known as Lola la Chata, was the first major female drug trafficker dealing marijuana, morphine and heroin in Mexico from the 1930s to 1950s. Lola la Chata is considered to be one of the inspirations of American writer William S. Burroughs, who used her as a model for several characters, generally with the name of Lupe, Lupita or Lola. In Cities of the Red Night, Burroughs describes an encounter between the protagonist and La Chata, who provides him with heroin.
portrait of a man in his forties hitting lolitas in a bar but wanting to die. (100x80cm).
(retrato de un hombre en sus 40s entrรกndole a lolitas en los bares pero que en el fondo se quiere morir). holding a glass of vodka, absolut defeat, scatterd cunts. the live stock is himself.
eroin. (100x80cm).
on addiction. lancĂ´me, dior, hermes, confinement. sources of pleasure, la police, hahaha ha, bla bla bla, death and her friends. .
barcelona amphetamine. (100x80cm).
psychological portrait of BCN including muntaner 6 (automatic writing & painting, ‘absolut’ drenched, fast fast). .
barcelona c’est 70% de colere/gangbang entertainment presents the dildo/stay fit and slim swallow amphetamine mirame, you ready to blow? € 3.99, on offer vite, trop vite, how soon is too soon? and couples going home to their color TVs.
goebbels. (110x120cm).
the crucifixion (474 sadness units), fake news, propaganda and slavery. big penis, and big balls (of propaganda). a god to kneel to, fuck. .
hahaha love mr. impetu (100x80cm).
painted over a previous painting just like forget works, new things on top of old things, layers and layers of memories, the brutality of the message scares me. beauty and truth opposed in a continuum, freedom and love opposed in a continuum, defining four quadrants. no quadrant is selected, life is choosing. love, a.k.a. Mr. Impetu is crossed and distorted, an old tribal god or a pussy. for a good alejandra poem please call 01212-44074471, inner crowds of men and women, stirred, narcotic cabaret despair, horny, willing to die. in german, like surviving the white shroud of death hiding everything else, “Ich bin der Größte” (“yo soy la mas grande”), and the tits of the woman hidden behind the painting. the roughness of its surface is pure bitterness.
narcissus and the mirror.
(100x80cm). selfportrait. incomplete abstraction I call it, almost there. my reflected image is a wool ball, guillotine. the prison is easily seen on the mirror.
la colère. (100x100cm).
cannibalis an essay o the arrow everything colère. .
m, gluttony, etc. n past and future, of time, we have at half prices, and
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the three ages of man (100x80cm).
selfportrait evolving through the years. we all become fragments. GOLDEN, GO, GODLY, and then a fourth face outlined, navigating the sea of salt. love (i), cunts (ii) and then money and power and crossed (iii). eat more pussy, perishable.
grandiose, ella o formas de tocar fondo. (130x100cm).
psychological portrait of IC Roby. a lawyer and an addict, a sex robot™. a visual poem about someone I loved brutally; brutality unleashed. .. psychological portraits, cruel, vicious and truthful, closer to a poem than to a painting, what can I say. hairy bush (no/yes)(?). so many things written you wouldn’t believe, we were words.
how to sell drugs. (100x80cm).
the couple (venus de milo and her partner). on love, sex, and its brutal importance in the socialization of men and women as a medal and a sign of success. we all Venus de Milo, can’t touch anything in Paradise Alley, selling and buying fleeting pleasures with dirty money, a street like a gigantic bonfire where the time burns. surrounded by the fable of all people, their forward light -a beacon not to crash but impossible for me to see-, I forgot all the names, shame on me, but night will come and will bless me.
credit. (100x70cm).
man standing on a street corner in Barcelona at five o’clock in the morning (acrylic, graphite and colored pencils on canvas). all hail the carmin king. genitals, two hedgehogs hurting each other when getting close, jaurĂa, enjambre. all is debt, all is debt.
psychological portrait of I.G. (120x80cm).
inma (acrylic, graphite and colored pencils on canvas). she cannot get out of herself. temporary conveniences: there’s nothing to forgive, only talent. that day at the surgical room, your gloves full of blood.
adrenalyn shot. (100x80cm).
study after Bacon’s portrait of Velazquez’s portrait of pope Innocent X dormant or barbaric. on textures (ab ex), exhausting. for a nun’s attention call 01.555.34077214, Pope Innocent X or depravity. madame la ministre!par ici, madame la ministre! houdini. jaws with sharpened teeth. OFF CAME THE BONES, as all dance happens in the mind, painting the landscapes of inside, abstract expressionism, automatic gestures and writing. . . honest as an adrenalin shot reigniting a stopped heart.
the last supper coyote roadrunner. (120x80cm).
hugh hefner is dead, ÂŁ1.70 (a cheap god). a portrait of society, Christ as a trembling line, try and read the jotted down words, fuck.
the gold skull. (100x80cm).
(always)(never)™, daùino, so many written things, red over red, elusive, difficult to read, automatic writing.
for a good love/bj call 00-1-144-540071.
(100x80cm). a visual poem about a cunt and her owner. a psychological portrait of someone hidden behind the symbols, vicious and truthful.
king profit the first. (120x80cm).
(acrylic, graphite and colored pencils on canvas). san coca cola capitalism, chanel gold valentino gucci love sorority free blow-jobs, the faceless face of capitalism or marilyn. /the many legs of capitalism. /absolut obscene and piss.
man posting a selfie on instagram trying to look like vogue dior. (100x80cm).
smile! smile! cada selfie es un fรณllame, more close to a poem than to a painting, what can I say, vanity unleashed, retratos del que mira.
cunts and the things we do to get them (135x110cm).
crowned cunt and a hedgehog. the prostitute is us, happiness is a category of slaves. loewe dior, fitness club, luxury. work, work, memories crossed over, porn. a prostitute on the streets waiting near a is painted over.
the beheading of marie-antoinette, composition in four (100x280cm).
panel II.
panel III.
panel IV.
the beheading of marie-antoinette, composition in four (100x280cm).
the four seasons of love, her head falling falling.
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