Artista: Santo Guichon "Salomon Aburrido"(Salomon l’ennuyeux) (La IA dandole clases de conquista particulares) Paris Francia

« Salomon Ennuyé » 

(Salomon l'ennuyeux)

Technical sheet:

•Title: "Salomon ennuyeux"

•Alternative title: (Salomon l'ennuyeux)

•Author: Santo Guichón

•Date of creation: [2024]

•Technique: Huile sur toile avec carte mère ("chips")

•Support:Tissu

•Dimensions: [111x108cm environ]

•Country: France - Paris

•Theme: - Programmation

"Salomón Aburrido" by Santo Guichón is a captivating oil painting that deepens the theme of boredom and the relationship between human beings and technology. At the top, a contemplative human figure, dressed in a striped shirt and accompanied by a little black rat, transmitted a feeling of fatigue, with a bottle and a strange card symbolizing the routine.

In the end, a robotic structure with mechanical protuberances and a humanized surface represents the cold and insensitive aspect of the technology. The abstract background, arranged in assorted tones, reflects the chaos of modern life. The painting, with an electro-artistic style, contrasts masterfully organic human elements with mechanical drawings, attenuating the tension and the possible alienation in a world dominated by technology.

The possibility of direct interaction between the human and the robot creates a feeling of acceptance of coexistence, inviting the viewer to reflect on his relationship with the technology and the potential for disconnection in a digital era.

The painting "Salomon Aburrido" by Santo Guichón is a deep exploration of modern alienation in the digital age. This Salomon, a tired human figure, and a robotic entity, symbolizing the emotional distance and the isolation that a lot feel in a world dominated by technology.

The abstract and tourbillonant background reflects the chaos of contemporary life.

The black rat and the bottle with a glass on the table insinuent of small comforts in the middle of the noise of progress.

Guichón's electro-artistic style combines organic and mechanical elements, inviting the viewer to reflect on his relationship with technology and the human condition. The painting invites us to renew with our humanity in the middle of the distractions of the modern life.

The style of the painting contrasts the organic human elements with the rigidity of the computer artefacts. The soft and natural traits of Salomon and the geometric and mechanical motifs of the robotic figure symbolize the emotional between humans and technology.

`

The abstract and chaotic background reflects the chaos of modern life and the fusion between humanity and technology.

This style of "electro-art" fuses the heat of the traditional painting with mechanical motifs, inciting reflection on the human condition to the digital era.

The painting captures the tension between humanity and modern technology. The spiral motifs of the background symbolize the overwhelming presence of the technology and the data, while the contrast between the tired expression of Salomon and the robotic figure reflects the constant struggle between human emotions and artificial efficiency.

The mechanical motifs and the humanoid traits of the robotic figure suggest that technology and humanity are not completely separated, but they are more intertwined.

The painting reflects the current digital era, where technology immines everyday life and creates a contrast between the human and the artificial.

The show how humanity and technology is intertwined, causing a feeling of disconnection and boredom. It underlines the need to find a balance between the human and technology in the modern world.

"The creative process"

Visual description

"Salomon ennuyeux" (2024) presents an intimate scene of two characters sitting at a circular table in an interior space suggesting a hut or an opening roof in pente. On the left, Salomon, a human figure with stylized features, almost naive, wears a shirt with blue and white stripes with a navy collar, a striped tie and a little hibou embroidered in his pocket. Sa pose, the main pose on the cheek and the vitreous regard, is the classic personification of the acédia or the melancholy. On the right, a robotic figure of metallic shade with a female spiral torso, an oval head with a front cross and a printed circuit card (carte mère) embedded in the theme, complete the scene. On the table: a bottle for you, a glass and a nail with the leaves and the main robot rests.

In-depth analysis of the creation process

1. Technique hybrid: Peinture + "Chips"

The technique "huile sur toile avec carte mère" is not a simple decorative addition. Guichón physically integrated the technological object into the traditional pictorial matrix, brisant the mimétique illusion. The motherboard works as:

• Contemporary relic: like the jewels in Byzantine icons, but of digital capitalism

• Cicatrice texturée: element in relief that interrupts the surface plane of the oil

• Material metaphore: the "spirit" of the robot is not painted, it is embedded, it is real

2. The dialogue between the organicisms

Human element Technological element

Hot skin (rose/saumon) Cold metal (oxidé green)

Organic stripes of the shirt Mechanical spirals of the torso

Hibou (nature, ancestral wisdom) Mother card (artificielle, treatment)

Tired eyes, regard absent "Yeux" absents, only des fentes

L'ironie centrale: Salomon is "bored" despite/paradoxically with the technology company. The robot does not give him the human alterity that he needs.

3. The pictorial space with psyche

The abstract background, with the masses of blue-green color and ochre touches, avoids the depth of the Renaissance. C'est un paysage mental, pas physique :

• The blurred forms suggest clouds, mountains or simply visual noise - contemporary infoxisation

• The triangular roof works like a protective and oppressive cloître

• La table ronde, traditional symbol of communion, separate here plus qu'une

4. Le hibou: programmatic detail

The little hibou in the pocket - almost childish in their execution - introduced a temporal tension: it is a playful anachronism that contrasts with the technological sophistication of the robot.

5. The "programming" comme theme

The alternative title "Salomon l'ennuyeux" plays with the linguistic ambiguity: Salomon s'ennuie-il (emotional state) or is-il boring (existential condition, may-be programmed)

----

Synthesis

Guichón built an iconography of the present using tools of the past. The style, which oscillates between Modigliani's naive (longing faces, absent eyes) and the Soviet constructivism (robot as a modern idol), generates a strange temporality: we are in 2024, but also in the retro future of the 20 years, and in a permanent present of the alienation.

The work is condemned by technology; it humanizes literally (sens en spirale, main reposante). Mais cette humanization est troublante : le robot n'a pas besoin d'être menaçant pour être inadéquat en tant que compagnie. The sadness of Salomon is that of someone who shares the space without sharing the presence.

In the creative process, Guichón seems to be part of an existential question - comment to paint the digital boredom? - and the resolution by juxtaposition material: that the oil can not say on the technology, the mother card tells him physically. The painting becomes so the archeology of the present, where the couches of time (preindustrial, modern, digital) coexist in tension.

----

Do you want to deepen a specific aspect: the influence of artists like Léger or Picabia on the mechanomorphosis, the iconography of the hibou in the history of art, or the philosophical implications of the boredom baudelairien revisited?