Sigfredo Chacón’s recent work makes use of two apparently different series of procedures that nevertheless correspond to an identical intention. Chacón uses wooden structures in the shape of a frame which he coats with a thick layer of acrylic. Some of the paintings frame the empty wall on which they are hung, while on others a bed of transparent plastic allows us to observe the traces of the process of construction.

There is a clear contradiction between the forms used by Chacón as a support and the treatment of this support as object. In the history of modern painting, the frame is an iconic