This same process of perversion of productive devices is also found in works such as Cool Dripping (2002), Digital Blood (2003) or Simulation (2004), in which the famous automatic and expressive stain, characteristic of abstract expressionism, is digitized and technically reproduced, through the plotter or industrial screen printing, removing all its hot, emotional and expressive elements, and turning it into an aseptic design product, in a kind of print, which can be used in different shades on different surfaces. But here, without a doubt, the irony not only reaches the perversions of the productive techniques, but also the dialogue with the history of art itself, which they want to irreverently divest of its aura.

Miguel Cereceda