madrid

El Roto, Untitled, 2012–13, ink, watercolor, and graphite on paper, 11 x 16 1/2".

El Roto

Galería La Caja Negra

El Roto, Untitled, 2012–13, ink, watercolor, and graphite on paper, 11 x 16 1/2".

Though almost a stranger to the art world, El Roto is one of the best-known draftsmen in Spain. For more than forty years, he has contributed to a number of publications, among them El País, the country’s leading newspaper, for which he publishes illustrations on a daily basis. On the art scene—in which his participation is recent and sporadic—he signs his paintings with his real name: Andrés Rábago.

El Roto is not the only pseudonym Rábago has assumed. As early as the 1970s, he used the name OPS to sign drawings with a Surrealist iconography and spirit that delighted readers of the satirical press. And he still indulges in parody and even in a certain sense of cruelty. But while OPS ended up making something like visual poetry, his successor El Roto engages in a more direct, concise, and biting analysis of social reality. Though he has constructed a readily identifiable

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