Julián Burgos' painting is traversed by different energy flows linked to the body, the painter's body and that of the subject represented, as well as to the pictorial matter. Like many artists of his generation, he uses search engines to make surprising, anonymous, common, distant, past, present images emerge. He takes them to constitute thematic series that, at first, may seem contradictory: stills, screenshots of porn movies, family photographs, sports images, individual portraits, domestic landscapes, reproductions of old paintings. The artist selects the images and transposes them onto the canvas.

The transposition is not faithful, he opts for radical chromatic alternatives (black and white, blue, luminous accents or shadows) and for a plural gesturality that confers on the subjects an aura that is simultaneously photographic, expressionistic, even surrealistic one could say. Regardless of the subject matter of the chosen photographs, the artist concentrates his reflection on the body, on the staging, on the way it appears in the space of the painting, on its movements and its flesh. He thus proceeds to a genealogy of the image by working on different levels. In the background, the original image acquires a new appearance, it is painted quickly, some details become visible. Little by little, successively adding gestures, Julian Burgos allows us to capture the materiality of the image. In the foreground appear thick brushstrokes, signs, geometric shapes. From the original image converted into something unrecognizable and phantasmatic, he brings out the reality of the workshop: an everyday space devoted to experimentation. Consequently, nothing is systematic, his painting is constant movement. Nothing is fixed as long as the canvases do not leave the studio. Julian Burgos constantly intervenes in his compositions by adding matter and new gestures.

Excerpt from the text by Julie Crenn, Mutatismutandis