The basis of my formal search in stamping in metal or Met-Pop is the renunciation to my own drawings in the stuffing of repetition in the “Wanna be” of the colleagues combined with multimediatization and popularization of European artistic icons. This search occurs inside topologic unfolding; generating The Imaginary Space and the little planes Met-Pop-Tovs that irrupts in the official and made official space. In The “thingfication”, the “thingfication” of human beings and the humanization of cybernetic or materic objects and ideals, are the origin of this Then Series, The absence of drawing is regenerated, the digital interface (Scanner) and my own sculpture in ephemeral compositions, are the origin of the scanner series. In the ignorance, there are not a possible freedom. Antonio Palos C. Antonio Palos, in his different interventions and in some of his later digitization works, stresses the center of his creative interest to reach the efficiency of his theoretical message. He uses his indirect concepts and allusions starting from the introduction of elements with great elaboration but, by themselves, they are not enough to obtain the first plane of attention of composition. And this is the way -we must say it- because he has programmed it in this way.

His work is based in an attitude of analysis, in the use of paradigms and descriptions of ideas that he subjects to a bombardment of possibilities.

His intention is to consolidate the idiosyncrasy of the action with the use of means like video, brass and aluminum planes. In a globalized world, the use of technological devices, planes as a symbol, landscapes of Government, symbols like the statue of Liberty, constitutes by itself an authentic challenge.

From the complicated work, he goes to the establishment of a politics of ironic confrontation. He alerts us, with his artistic attitude, with regard to the existence of a change in the politic relations in the world. He warns us about the elemental things, in a discourse of predominant security in the world. He has passed to an attitude of counterattack and prevention.

He analyzes the cheek of the use of symbols of liberty, even to ridicule them, losing their meaning. This is made in that way because he considers that reality has exceeded the best of all imaginable fictions. He questions the concept of reality and liberty. He ridicules the symbols to demonstrate that the idea of liberty doesn't exist. That means that the vision of his interventions is based in an observation of reality in order to change it later, respecting it, changing its meaning, introducing it elements of incidence.

Joan LLuís Montané From the International Association of Critics of Art Place of birth: Monterrey, N.L. Date: March 11 th , 1969

Multidisciplinary, sculptures, stamping, interventions, installations, electronic media, painting.

ARTISTIC STUDIES> 1988 Nuevo Leon's Pinacoteca, From the Conceptual to the Retinal, Departure and Return". Felipe Edenberg. 1996 Nuevo Leon's Pinacoteca, Specialization in Art Criticism Diploma, lectured by Curare, Specialized Criticism 1995 MARCO, Museum of Contemporary Art, “Introduction to Contemporary Sculpture”, lectured by Gerardo Azcúnaga. 1985-95 He studied and worked with pieces of jewelry, gold and silver work, and etching techniques in the Cardenas Jewelry Shop, with the goldsmith David Juarez.

SOLO EXHIBITIONS: 2007 "The Silent Voice", Lobby Soprt City, San Pdero Graza Garcia, January. 2006 The Met Pop shop and the Clony-Co, Binni Routie, art Gallery, Monterrey, Aug-Sep. 2005 "10 años de Harista", Popular culture Museum, Down Town Monterry, Agu-Sep. 2001 Mexican Bazar, Mexicarte Museum, Austin Texas. December. 2002. 2001 Antonio Palos, Paradise Café. Down Town, Austin Texas. 2000 Sculptures. Guadalupe's Cultural Center. Guadalupe, N.L. N.L. 1998 Imaginary Space. Museum of Popular Cultures. Monterrey, N.L. Met-Pop ^ Toys. Space for exhibitions of Arte A.C. Monterrey, N.L. 1997 “Genesis” (CLONY-CO). Art Dealers Gallery. Monterrey., N.L. 1996 “Sculpture”. Cintermex. Monterrey, N.L. From Earth to imaginary Time. Area of Postgraduate. Universidad Regiomontana. Monterrey, N.L. “Three Metals”. Plastic Arts Society of Northwest. 1995 “Visions and Principles" Mexican American Institute of Cultural Relations. San Nicolas de los Garza, N.L.

COLLECTIVE EXHIBITIONS: 2000 “Renaissance 2000". Art Dealers Gallery. Garza Garcia, N.L. Woman at the end of the Millennium. ART DEALERS GALLERY. GARZA GARCIA, N.L. “Second Hall Before 30”. Metropolitan Museum of Monterrey. Monterrey, N.L. 1996 “Life and Death”. Degollado Theatre. Guadalajara, Jalisco, Mexico. Nuevo Leon-s Plastic Arts Review. Itinerant Exhibition. Monterrey, Guadalajara and Nayarit. Hall of Sculpture. Guadalupe's House of Culture. Nuevo Leon. Fragments. Itinerant Exhibition in different Municipalities of Nuevo Leon. Nuevo Leon. 1997 “Monterrey in Zacatecas”. El Calin Gallery. Historic Center Zone. Zacatecas, Zac. Mexico. 1996-94 Twelve Collective Exhibitions in Monterrey.

AWARDS AND HONORS. 1998 Incentive to Plastic Arts Creation Scholarship. FONECA. Nuevo Leon. Young Creators Category, Sculpture. Project: "Imaginary Space". Special Mention in Nuevo Leon's Plastic Arts Review.

Activities of Cultural Promotion: 2000 Founder of La psique Cultural Magazine, Magazine of Arts and Things that Come Near. Autonomous Publication, Rustique and Plastic Format. Caothic-Determinist Periodicity. April, 2000. Founder of Ars Nova 2000 Virtual Comunity. MSN Web Communities. Interactive Community in which La Psique Magazine is published. Virtual Forum where is possible to discuss-refute about the editorials and news items of the publication. 1999 Founder of the Young Creators First Encounter, Metropolitan Museum of Monterrey. From March 12th to 14th, 1999. 1994 Founder President of Antes 30 Society, a Society of Artists and Creators, in which 10 Collective Exhibitions were promoted.

Artist Highlights

• Lives In:    MEXICO
• ArtWanted.com Gallery:    Fine Art