Self-taught painter «of graffiti origin, his painting has taken psychedelia to advanced states of experimentation. His works seem stained glass in which fragmented the most diverse creatures, between impossible plants and living eyes. Worlds in which everything seems to be vibrating, transforming, melting, exploding » (Daniel Neufeld).
Sadek Reynolds (Mazatlán, 1985) is a plastic artist who arrives in Guadalajara at the age of 12 and from the age of 16 starts to scratch tags, signatures, on the street with his war name, Sadek, which is a tribute to total art and end practiced by the Marquis de Sade.
His work consists of more than 30 collective exhibitions in Mexico, the United States, and Panama; Individual exhibitions; graffiti & street art.
He starts in mural painting by the hand of his fellow artists of generation, participating in the collaborative environment of street crews, an activity that allows him to take the walls of the city as a large graphic laboratory in which he leaves traces of a personal style.
In 2008 he began to work on an unconventional urban art project, Cardumen, in which he produced original work on paper, the painting of piranhas, made on purpose to carry out installations on the street.
The action, the project is active, consists of pasting several paintings of piranhas cut on a wall, usually in the opposite direction of traffic or the direction in which pedestrians walk.
The metaphor of this pictorial installation rivals in significance with other types of urban signs, adding an aesthetic and ironic component to the everyday life of the involuntary spectator, alluding to its displacement as a school of fish in which the individual moves obeying a superior order that exceeds but that abides in a synchronic manner.
The aesthetic proposal of this work is based on the visual constructions carried out in mural projects to become an organic art, very colorful and contrasted with the language of graffiti, enhanced by the characteristics of the materials used, acrylics, enamels and all kinds of oil and industrial markers, using mixed techniques without any shame.
The language used by Sadek alludes to the codes of urban art, of graffiti, and as an artistic expression of postmodernity, it is a marginalized current that needs to build bridges with other artistic traditions. This striking painting is tinged with dyes of the neopsychedelia that shows a handful of young artists from Guadalajara. Landscapes and geometric constructions. The series of Demons becomes an experiment of self-analysis and exorcism, being an exploration work that has to do with internal demons, negative psychological aspects that the artist has to tame and channel. A fight that does not stop that causes that the internal tension of conflicts is translated into the chromatic tension that characterizes this series of portraits.
Nursing studies influence the work of Sadek, who in the series landscapes translates his intense chromatic bets to micro and macro exploration, landscape compositions of the microscopic, in which appears a camouflaged fauna of invented animals and insects, of fantastic characters Semi-hidden among the undergrowth of colors. The geometric series is entitled The Tower of Babel and consists of a set of works on unfinished structures, half-finished, in a metaphor of the emptiness of the contemporary individual. Sadek endows his paintings with dense atmospheres that occur by accumulation and superimposition, just as it works on the walls used by taggers to leave their signatures or messages until they cover each other and there is only an indecipherable tangle of signs and color lines. In this case, the artist separates the colors in a surgical and orderly manner placing them in different planes of thermal vibration, achieving risky and luminous harmonies (Germán Laris)
Instructions to fall into the abyss of uncertainty
PACHA MOMA begins the second edition of temporary exhibitions on Thursday, June 13th, this time, with the accompaniment from the pearl “Guadalajara” of our brother SADEK REYNOLDS with his exhibition entitled “Instructions to be dropped into the abyss of uncertainty”
The drawing is the root of the images, with their lines that come from mental constructions we build conceptions that, like those of the language, have their equivalents in reality, but that happens when the artist tries to reflect the interior, this is one of the aspects that follows the work of Sadek Reynolds, his personal commitment takes place within the limits of the uncertainty of a changing subjectivity. The paintings of Sadek give the construction stage of the work a prominent role, the drawing does not lie in the background, instead seeks to stand out as an element of chromatic support. The lines of stained glass, fragment samples that define figures or caretaker beings. The way to exercise the lines, their rhythm concerns exercises of frequent revision by the artist. Sadek has drawn from thick lines, almost spots, which covers points of different color and magnitude, this impulse of primitive roots, acquires a reference in a need that in cities may have other terms, that define it, but that it is, after all, something humanly associated with communication through the plastic material. Sadek has focused his activity on a drawing way that tries to relate to a certain essential essence. Reprimand and re-locate the traces that coexist with the calligraphy or the plastic gesture that figures in the abstraction of the signs, the initial writing. For such exercises that begin within the structure of the drawing and gradually reinforce contours that then conclude through continents of color and changing forms. In this habit of wandering that does not seek external narratives, if not that once localized derives in delirium a vast repertoire of accidents. A significant part of the work of Sadek Reynolds takes as a school the transgression of street art conceived from the whim of those who express a capricious individualism, to this the artist takes it back to give a course towards an enigma that takes to the error and the loss of symmetry, of order and even the comfortable certainty of having understood, before enjoying the sensory effects of color and the flow of forms.
Ángela Vásquez (Colombia)