Roberto López Martín

Roberto López Martín - Avatar Conejo Blanco (White Rabbit)

Artist Biography: Roberto López Martín (Madrid, 1982) is a multidisciplinary artist graduated in Fine Arts from the Complutense University of Madrid and has a master's degree in Art and Creation from the same university. He works with different media, such as painting, video and photography, and combines them to introduce the viewer into his work.Despite being young, she has participated in several national and international projects and exhibitions, such as "Hostel art by Pac" organized by the contemporary art platform, "Las lágrimas de Africa", "La Valla 100 artistas en la Frontera Sur" Utopicus in Madrid, the group exhibition "Estudio 120m" at the Wurth Museum in La Rioja, the group exhibition "II Salón de las vanidades: Barroco Nuevo" at the Palacio Ducal del Carpio in Cordoba, and has been selected in the Exhibition Program of the Centro de Arte y Exposiciones Tomás y Valiente in Fuenlabrada, Madrid.

 

Roberto Lopez Martin has participated in international fairs in Malmo (Sweden), Just Lisboa, CEART and Art Madrid. In 2020 his series of sculptures Avatars, Los Niños Tele will be presented at the Art Madrid Fair. https://ddrartgallery.com/collections/roberto-lopez GRANTS AND AWARDS 2016 UPHO Selected Urban Festival of Contemporary Photography (MALAGA) Estampa 2016 within the program Poster Design by Pac 2013 Selected Studio 120m Group Exhibition Wurth Museum, La Rioja, Group Exhibition "II Hall of Vanities: New Baroque, Ducal Palace of Carpio Cordoba. 2012 Selected in Exhibition Program, Centro de Arte y Exposiciones Tomás y Valiente, Fuenlabrada, Madrid. 2011 Shortlisted in lntransit Contest. Course 2009/2010: Scholarship Holder of Pictorial Techniques with Professor Daniel Lupión in the C.E.S Felipe II ( U.C.M ) Artworks selected for the fund of the Department of Drawing ( U.C.M 2007 Selected for Exhibition Painting Contest Villa de Valdemoro, CC.00, Madrid. 2006 Selected for Exhibition Young Creators II Contest of Plastic Arts, in modality of painting and drawing. Aranjuez, Madrid. AVATARES. THE CHILDREN TELE. Giovanni Sartori, in his work warns about the impoverishment of the understanding and the loss of the capacity of abstraction. Both facts would be caused by the primacy of the image (television) over the written word. The toy is an essential concept and in which it takes its maximum value in the context of human development. It is through toys that children explore, discover, learn and interact with multiple objects and problems that form an important part of their proper development as individuals. The companion becomes the screen where their own emotional states are projected and can thus be articulated and managed. Stuffed animals are there when children feel they have been left alone, give them a firm footing and function as conversation partners and in this way contribute to psychological resilience. For children, the companion has a personality and is quasi-living. Intuitively, they attribute feelings and a personal will to it. In fact, they establish an imaginary relationship ("para-social relationship"), which allows the child to experiment. However, in the current era, play has been subordinated to large corporations and big brands that use toys to promote a system of life, marking patterns and consumer habits, leaving no room for this relationship since the product takes the lead. Nowadays the models of the ideal companion personifies something with its presentation, with the material and with the references (e.g. a TV program). Dolls have a skin color, stuffed animals refer to specific types of animals, and characters refer to specific programs, etc. . Through these works I raise the symbiosis between children, brands, and games, the latter two are responsible for alienating the child's systems and limiting their social relationship system. Changing him, transforming him to such an extent that his own childhood is disfigured. That is to say, it prepares the child for a new role, and what remains is the collage creation of different habits, consumerist. The child remains ultimately, behind the tangle, the dislocation of the manipulation suffered and thus can serve as a kind of product communicator and mediator between parents and children. The child, behind the created mask of false childhood becomes a series, a catalog reference, a sort of avatar or a graphic representation, totally distorted, which is associated to a user for future identification in his demand. It is positioned behind the toy-product acquiring those values by enhancing emotional anesthesia and following the pattern of what we call social networks. The child, behind the created mask of false childhood, becomes a series, a catalog reference, a sort of avatar or a graphic representation, totally distorted, which is associated to a user for his future identification in his demand. It is positioned behind the toy-product acquiring those values, enhancing the emotional anesthesia and following the pattern of what we call social networks.