Personal works that ignore the despair exhaustion of painting had dropped on itself. These works seek to restore the experience of painting expressive through the subversion of many of their traditions, appealing to the primitive, the brash plastic taste to insubordination.
We do not exaggerate when we mention Astolfo Funes as one of the most prominent representatives of national resurgence.
Funes assumed if their condition complex contemporary painter and unreservedly exposes its iconography filled with humor, irony, sensuality and perhaps tearing. The artist enjoys shocks chromatic contrasts sponsoring risky with predominantly yellow, pink, fuchsia and blue. It also favors the incorporation of pigment textures in her pieces, creating surfaces that accentuate pasty expressive forcefulness of his painting
The space becomes equally expressive Funes. Gone are the conventional representation of the depth, since the artist works in the manner of children, in a single plane, and only zooming or shrinking-Gigantification-of figures help us to establish a better understanding of certain plans and the scene depicted.
Because Astolfo Funes's work is based on the configuration. However, as already noted, the artist attempts to subvert the tradition of painting through the recurrence of the original sources representation, those instances are left out and representative conventions seeking direct representation of our imagination, as children's drawing or art pathological. The artist also integrates elements that demarcate the flatness of the work and highlight its "street" as graffiti texts, annotations, and blasted stripes. The picture space often becomes saturated, in full mottled in deformed figures converge, color strident writings, stains, drops, marginal drawings.
The great theme of the work of women is Astolfo Funes. His paintings represent women, usually naked or bare-chested. Although his work has been associated with the Dutch-born American artist Willem de Kooning (1904-1997), who also dealt with the representation of women in long periods of its history, it is clear that the work of Funes is not loaded from the rage we see in the Women of De Kooning. The American artist, one of the leading representatives of Abstract Expressionism, introduced their thick atmospheres abstract women hardly readable narrative. Their women were deformed creatures that occupied much of the canvas and were subject to an expressive force that made it seem like suffering. In fact some critics have given this constant suffering and difficult representation of women, a reading that relates to the sufferings of the same De Kooning.
Torture and displacement are not directly present in the work of Astolfo Funes. The tear that could be interpreted in association with highly expressive quality of his paintings, is in any case screening by the mask of irony. Certainly Funes's work is imbued with the sarcastic approach to the reality of our own times. Their women, though festive and joyous, happy faces rarely show in them patentiza seriousness bordering on resignation. The scenes of revelry bars and constantly represented by Funes, realize it, as could be verified in the bar sies Toot disturbing work (2004), with which the artist participated in the mega-exhibition II, and is seen as the face representation suffering and anguish of a woman.
Satire is part of the discourse of Funes. On the winning play Art XXIII Municipal Hall (Leeds), Leda and the Rooster (2003), the artist introduces the classic theme of Leda and the Swan and ridiculed in a highly expressive work, brash and perverse sensuality.
The pleasure is always present in the work of Funes, but not as sensuous delight, but as the disturbing erotic drive, which connects us momentum death, as is evident in works such as Home- Crystal-with which the artist did awarded the First Prize at the Art Salon III-Exxon Mobil or the darkly humorous The Medical Malpractice III (2005).