Though not widely known outside Madrid, Luis Salaberría is hardly a newcomer; he has been exhibiting for fifteen years, albeit erratically. Throughout this period, his work has been consistent in its use of a personal imagery even while undergoing a noticeable evolution. For years the artist has deployed an array of childlike personages, which he calls “Pepitos”—figures from an iconography somewhere between innocence and perversion. As his work has developed, however, the sense of innocence has receded, and he has gradually placed more emphasis on the perverse dimension of his work. Not one of those artists whose work grows simpler as they mature, Salaberría has gradually abandoned the ethereal quality his images used to have to accentuate the tensions that they hold. Indeed, the tension between opposites now seems the very foundation of the work. The childlike appearance of Salaberría’s
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