In relation to the development of material experiments on painting, in the exhibition Icebergs of Faith, Adolfo Bimer presents a series of 17 works, including series and individual pieces, consistent with previous interventions on reproductions of Catholic religious art works, taken from Western art history books.
On the one hand, the exhibition consists of three series of interventions with varnishes and enamels on framed images, which serve as fragments of the work of Paolo Uccello (History of the Profaned Host I–II), Francisco Zurbarán (“Little Saints” I-II-III), and images from important European museums where these works are on display (The Church I-II-III). On the other hand, the exhibition also consists of 14 pieces made with varnishes, lacquers, resins, and acrylic on images from the same source, where the paper has been completely coated with pictorial mixtures, sometimes losing its direct reference—material and symbolic. The pieces become mineral fragments with a strange organicity, a simulated archaeology that skims three-dimensionality.
