La Batalla final dentro del triunfo de la muerte de Brueghel

Nicolas Romero

Twentieth-century Western thought approached death through a scientific vision, thus distancing itself from Christian morality. On the other hand, certain processes of rapprochement with iconographic constructions of death began to be woven, largely triggered by the
iconographic constructions of death, to a large extent triggered by the economic context
economic context brought about by globalisation in the 1980s. It was at that time that death found another guest, a musical genre that is a sub-genre of heavy metal: death metal. The bands of this genre approached the aesthetics of death, creating their own sound rituals or developing vocalisation techniques such as the “death growls” (Deathgrowls) that are produced by playing with the part behind the roof of the mouth and that seek to imitate the hypothetical sounds of death.
and which seek to imitate the hypothetical sounds of death.

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Oil and acrilic paint on cotton textil
40x32 cm
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About the artist

At present, Nicolás is developing his studio work around the “Still Lifes”, with which he has found a way to use the image as a way of
through the union of elements he has found a way to use the image as a form of social reflection and anthropological research.
social reflection and anthropological research. He works through the traces he finds in his immediate context, the result of the
the result of the social fabric and symbols born of the coexistence of social, cultural and economic factors.
social, cultural and economic factors. From bottles of soft drinks to religious prints, political symbols
political symbols, contemporary icons or something as seemingly innocent as fruit and vegetables form part of these compositions that he uses as a
These compositions are used as a bridge to talk about more complex realities.
It is precisely this confluence between the still lifes and this connection with his childhood and the times in which he was
pushed by times in which society was changing its behaviour in the face of a global pandemic, which
a global pandemic, which led him to give architectural form, specifically gundam, to these still lifes, bringing to life
giving life to beings dressed up in standardised consumer items – anonymous and global identities – through the
anonymous, global identities – through their bodies.