Miguel Balbás The best paintings of 2019
Miguel BalbásThe best paintings of 2019

Armageddon/Armagedón

and

the “generic patient”

Paintings below the text/Obras debajo del texto

present:

 

the work of

 

Miguel Balbás

 

Madrid, 1965

 

sound message; effective transmission.

(It is not that I want to be an artist; it is that I want to do something)

 

STATEMENT OF INTENTIONS

 

 

The generic patient (above) is victim of the excesses and exploitations of FarmNazi, a multinational pharmaceutical company whose ineffective solutions yield fat profits at the expense of the indescribable suffering of the patients that endure them. FarmNazi is a fictitious company, but its workings do not differ much from those of real multinational pharmaceutical companies, whose cancer-fighting products, in this case, are absolutely ineffective and cost exorbitant amounts. Patients are thus the guinea pigs of these abuses. Schemes, threats, pressure, blackmail, etc., are the order of the day, and the multinational companies are the ones to do and undo them as they please, depending on if their pharmaceutical remedies will bring them more or less profit. There are uncountable stories of drugs that have been recalled from the market because they are actually effective and, therefore, no longer of interest, because if they cure patients quickly, there’s no more business; or drugs that are recalled because they are cheaper than another company’s, for example, a foreign company’s. The executives of the national company pressure the government employees of the Spanish FDA to recall the medicine from the other country and introduce the Spanish drug, which is more expensive, less effective, more difficult to administer to patients (for example, parenterally instead of orally) and has far more devastating secondary effects. Personally, I believe that the cure for cancer is well known, but the widespread use of effective drugs would bring about the bankruptcy of the social security systems of developed countries (the only countries that can afford the high prices of these “drugs”). People would live so much longer, receiving their government pensions, using social services, etc., that soon the government would find itself in serious trouble. It seems logical that countries would ban a drug that does away with this disease in order to avoid breaking the state’s cash supply and causing greater problems, but we cannot allow the pharmaceutical mafia to make a fortune at our expense, knowing full well that what they offer is, quite honestly, bad in every sense of the word. The suffering that these so-called drugs provoke is indescribable when compared to the good that they do. Normally, the patient gets a few more months of life –if this existence can be called ‘life’– suffering terrible secondary effects, which, from a rational point of view, makes no sense. When the death factor forms part of the game, all considerations change. The patients’ deteriorated brains become machines of pleas in favor of the benefits of such products, and they are capable of saying “yes” to anything with the hopes of living one more day in these miserable conditions.

 

Most of these drugs are approved by the FDA, a United States organism in charge of giving the go ahead to these medications. The number of professionals who transfer from the FDA to multinational pharmaceutical companies is astonishing. Who knows if these jobs are given in appreciation for their attentiveness while working for the FDA. The cancer industry is one of the most important industries in the world. Many jobs depend on it. Mechanisms, instruments, hospitals, doctors, nurses, drugs... all of these things and people make up a fictitious industry whose results would not be considered acceptable in any other business. Suffice it to say that only 10% of the patients who receive chemotherapy treatment survive more than five years. The results are there. The drug’s benefits have not improved at all. What has improved is the method for diagnosing cancer, which, I imagine, is one more means for pharmaceutical companies to make a profit. The sooner the disease is detected, the sooner chemotherapy begins. The question that plagues me, among many others, is: how many animals are tortured, ravaged and destroyed each year to achieve such poor results? If companies produce a drug that fights cancer, goodbye profits. The days of the goose that lays the golden eggs are gone. In my opinion, it is a perfect scam between the government and companies; the former for social security reasons, the latter for their own profits. Furthermore, apart from these cancer-fighting inventions, the FDA is unbelievable in its recommendations regarding other non-patentable products that could avoid a great amount of suffering and illness. None of the things found in nature are patentable by pharmaceutical companies and, therefore, they do not bring in profits. If they could patent vitamin C and charge a fortune for it, they would be bombarding us with its benefits. But since this is not the case, they recommend a very small intake of this vitamin, even though the good it does is well known. Lies, interests and suffering.

 

In addition to the generic patient, I also represent the pain that we all suffer, animals included. Vivisections, clinical trials, overcrowded farms, tortures, fur farms, etc. Anything goes as long as some benefit can be derived from these poor beings. If the use of human beings in clinical trials were not prohibited, people with psychological problems would be next in line for these tests. Scientists stop at nothing; they are capable of doing the most horrible things in the world with the excuse that it is for the good of humanity. They are true Frankensteins who delight in their monstrous laboratory creations, inflicting unimaginable pain on poor vivisected creatures or testing substances that are no better than turpentine on poor unsuspecting animals.

To this list of horrors must be added the terrible clinical trials that cosmetic multinational companies perform, testing their miracle remedies on rabbits, cats, dogs, etc. It is disgraceful that this happens in advanced societies. What is really a shame is that if these tests were not performed in developed countries, they would be done in other countries with even fewer animal protection laws. It is just terrible. There does not seem to be any way of stopping this barbarity, but somebody has to raise their voice in their defense. Not everything goes; humans do not have the right to make and destroy things as they please. The pain that a cat suffers is the same as the pain of a child, a mentally handicapped person or an elderly individual.

 

Other main motifs in my works are those that imply pain, suffering, or both: child abuse, executions, Siamese twins, amputations, mutilations, tortures, the death of a loved one, slavery, child labor, the selling of organs, domestic violence, wars, children soldiers, thirst, hunger, displacements, stoning. What kind of a world do we want? This is unbearable. We are the metastases of the planet. Without us, everything would be better. Ever since we appeared we have done nothing but destroy whatever has come in our way and, on top of it, we have done this convinced of our superiority. Everything that happens always only brings about pain and suffering, for someone or another. It is a shame that pain, threats, and coercion be accepted means of action. In the first world we enjoy some kind of guarantee of freedom, but we only have to turn on the TV to realize that this is an island of prosperity and freedom compared to the rest of the less-developed planet. The bad thing is that this freedom and prosperity are achieved in detriment to the freedom and prosperity of less-advanced countries. Cynicism and hypocrisy. But are we willing to give an inch, to reduce our standard of living to improve that of those who have less? I do not try to offer solutions, because they are impossible to achieve, but with my work I do attempt to show that the world is a horror; life is no more than an obstacle course that ends in death. Yes, we live moments of pleasure and enjoyment, but these are thwarted by bad things and pain, our own as well as others’. What I never expected was that such a destiny awaited my wife, who died of ovarian cancer at age 33 and who is the founding idea of the generic patient. As a result of our hospital stays, my Internet searches and conversations with others who suffer from this disease, especially from the United States, I slowly gathered information about the cancer industry and its many evils. I added these ideas to others that I had already formed about the world and its effects on health.

 

This is a brief presentation of my concerns and motivations. Through the graphic representation of my ideas I have discovered a means of revealing the outrages, abuses, pain and suffering of mortals. Let’s say that my artistic career is a reaction to the horrors that I have lived first hand, which have been added to my already confirmed sad ideas about the planet. I suppose that suffering has been the catalyst of my compromise, which takes form in graphic representations. A contribution to reflection, I guess. Something that motivates and stimulates a debate, a change, a rejection of all that is evil.

 

I have tried to represent my works in the most beautiful way possible. Like the world seen from the moon, so pretty. But just by coming a little bit closer you discover all the horror inside. Formally, that is how my works are: pretty and decorative, thus making their impact and diffusion more effective. But their content is from the real world: sordid. 

Paintings/Obras

Three Spirals.

24" x 14" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Three spirals with striking colors, full of terrible scenes of abuse and pain. 

 

Tres espirales. 

61 x 35 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Tres espirales de llamativos colores llenas de escenas terribles de abuso y dolor.

 

6 Motifs.

16" x 24" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

Six strikingly colored scenes of abuse and pain: a girl tied to a chair (as happens to girls in China), a patient with a colostomy receiving chemotherapy, a heartless man (literally with no heart) beating a dog, an evil scientist experimenting with a vivisected dog, a man about to lose his arm in an Islamic mutilation, Siamese twin sisters.  

 

6 Motivos.

40 x 61 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Seis escenas de llamativos colores de escenas de abuso y dolor: niña atada a una silla (como les ocurre a las niñas en China), un paciente con colostomía y recibiendo quimioterapia, un desalmado (sin corazón) pegando a un perro, un malvado científico experimentando con un perro viviseccionado, un hombre a punto de perder su brazo en mutilación islámica, hermanas siamesas.

Against the Clock + Sh*t World. 

24" x 20" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A series of disaster and pain. The main character is the generic patient, surrounded by sorrowful family members who see the inexorable passing of time and know that death is only a matter of time. They turn counter clockwise, thus expressing that they are racing against time. Babies in diapers cover their eyes at all the horror, which can be seen throughout the whole work; babies with horrible mutilations caused by cancer receiving chemotherapy, stonings, children forced to walk through mine fields, little girls tied to chairs, vivisections, Siamese twins, children and animals being abused, tortures. At the top of the work, in the middle, a set of parents looks with horror at the world that awaits their child, and they ask themselves who they are to be exposing the fruit of their flesh to such horror, and they wonder if their offspring will suffer this horror in some of its manifestations (Why not their child?) 

 

A contrarreloj + mundo kk.

61 x 51 cm. (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Cúmulo de desgracias y dolor. El personaje principal es el paciente genérico, que está rodeado por los entristecidos familiares que ven como el tiempo pasa inexorablemente y que la muerte es cuestión de tiempo. Giran en sentido contrario a las agujas del reloj, queriendo expresar que es una carrera a contrarreloj. Bebés en pañales se tapan los ojos ante tanto horror, que se puede ver, además, por toda la obra; bebés con horribles mutilaciones cancerígenas, recibiendo quimioterapia, lapidaciones, niños obligados a pasar por campos de minas, niñas atadas a sillas, vivisecciones, siameses, abusos a niños, a animales, torturas. En la parte superior central de la obra, una pareja de padres ve con horror el mundo que le espera a su hijo y se preguntan quiénes son ellos para exponer al fruto de sus entrañas a semejante horror, y si ese horror, en alguna de sus manifestaciones, lo sufrirá su retoño (¿Por qué a él no?).

Big Bang 2.

24" x 19" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A sequence of concentric squares of various colors in big bang style. Man is at the center of the work and, as the origin and cause of all evil, from him issue rings of pain, abuse and suffering. 

 

Big Bang 2.

61 x 49 cm. (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Sucesión de cuadrados concéntricos de diversos colores a modo de big bang. En el centro de la obra se encuentra el hombre y a partir de él, como origen y causa de todo lo malo, se suceden los anillos de dolor, abuso y sufrimiento.

 

Big Bang B/W.

24" x 15" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A series of scenes and characters that represent pain and suffering. 

 

Big bang byn.

71 x 38 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Cúmulo de escenas y personajes que representan el dolor y el sufrimiento.

Big Bang B/W II.

24" x 19" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A series of scenes and characters that represent pain and suffering. 

 

Big Bang ByN II.

61 x 48 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Cúmulo de escenas y personajes que representan el dolor y el sufrimiento.

Big Bang Red and Black. 

24" x 19" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A sequence of concentric squares of various colors in big bang style. Man is at the center of the work and, as the origin and cause of all evil, from him issue rings of pain, abuse and suffering. 

 

Big Bang Rojo y Negro.

61 x 48 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Sucesión de cuadrados concéntricos de diversos colores a modo de big bang. En el centro de la obra se encuentra el hombre y a partir de él, como origen y causa de todo lo malo, se suceden los anillos de dolor, abuso y sufrimiento.

FarmNazi Scientists.

24" x 15" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Several scenes that depict satisfied scientists “investigating” in their laboratories, inflicting indescribable harm on poor, vivisected animals, experimenting with Siamese twins, cats, children, babies, creating impossible monsters. 

 

Científicos de FarmNazi.

61 x 40 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Varias escenas en las que se ve a satisfechos científicos “investigando” en sus laboratorios. Infligiendo un daño indecible a pobres animales viviseccionados, experimentando con siameses, gatos, niños, bebés, creando monstruos imposibles.

Sharing.

24" X 16 (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

A pair of generic patients shares the same bottle of chemotherapy. 

 

Compartir.

61 x 42 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Pareja de pacientes genéricos compartiendo una misma botella de quimioterapia.

Secondary Effects.

24" x 6" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Patient receiving chemotherapy. The work depicts the drug’s progression and how it affects the health of the patient who, after taking the medicine and losing all hair, succumbs to this cancer, which only advanced and metastasized with the chemotherapy. At the end, a crab rises up in victory behind the coffin. 

 

Efectos secundarios.

61 x 15 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Paciente recibiendo quimioterapia. Se ve la progresión de la medicina y cómo ésta afecta a la salud del paciente que, tras consumirse y perder el pelo, sucumbe al cáncer que no hizo sino avanzar con la quimioterapia y metastatizarse. Al final, se ve a un cangrejo alzarse victorioso tras el ataúd.

Spiral 4.

24" x 30" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Spiral with vivid colors, full of scenes of pain and suffering. 

 

Espiral 4.

61 x 76 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Espiral de vivos colores llena de escenas de dolor y sufrimiento.

Spiral 5.

19" x 24"(Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Spiral in red, white and black, full of scenes of pain and suffering. 

 

Espiral 5.

48 x 61 cm (Aprox). 

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Espiral en rojo, blanco y negro llena de escenas de dolor y sufrimiento.

Spiral.

24" x 19" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Spiral in red, white, yellow and black, full of scenes of pain and suffering. 

 

Espiral.

38 x 48 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Espiral en rojo, blanco, amarillo y negro llena de escenas de dolor y sufrimiento.

 

Double Spiral 1.

20" x 13" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Double spiral in red, white, yellow and black, full of scenes of pain and suffering. 

 

Espiral doble 1.

50 x 36 cm. (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Espiral doble en rojo, blanco, amarillo y negro llena de escenas de dolor y sufrimiento.

Spiral III.

24" x 12" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Spiral in orange, white, yellow and black, full of scenes of pain and suffering. 

 

Espiral III.

61 x 51 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Espiral en naranja, blanco, amarillo y negro llena de escenas de dolor y sufrimiento.

FarmNazi Moves.

24" x 6" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Five generic patients suffering the ravages of FarmNazi’s drugs. FarmNazi’s logo, the swastika with a drop of blood, revolves behind them, indicating the constant advance and progress of the multinational company, as well as their operating capacity (they’re up to their usual tricks). 

 

FarmNazi se mueve.

61 x 15 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Cinco pacientes genéricos sufriendo los estragos de los fármacos de FarmNazi cuyo logo, la esvástica con una gota de sangre, gira tras ellos significando el constante avance y progreso de la multinacional, así como su operatividad (hace de las suyas).

FarmNazi and Ex FDA.

24" x 6" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

The President of FarmNazi and a former high-ranking FDA official congratulate each other on the good results of the multinational pharmaceutical company’s stocks, in contrast to the suffering of the generic patient who sees that the more medicine it takes, the more cancer it has. 

 

FarmNazi y Ex FDA.

61 x 15 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Presidente de FarmNazi y un ex alto cargo de la FDA se felicitan por los buenos resultados bursátiles de la multinacional farmacéutica, en contraste con el sufrimiento del paciente genérico que ve como cuanto más fármaco recibe, más cáncer tiene.

FDA and FarmNazi Executives Celebrate the Results of the Latest Approved Medicine.

24" x 24" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

(There is not black background).

A very decorative work structured in concentric circles. Executives from FarmNazi (represented as pigs) and the FDA (with a questionable appearance of being champions of good) celebrate, hand in hand, the results of the latest drug approved by the FDA (whether they be financial or therapeutic results is unknown). In contrast, also depicted are scenes of the suffering that the use of this medicine generates in sick people. In the middle of the work is the generic patient as an objective (target) of the multinational company and the government. Note that the FarmNazi and FDA executives are of the same skin color, signifying that they are one and the same; observe also how, in a clear allusion to the quality of the product, flies swarm around the bags of substance administered to the generic patients, who border the work.

 

Jefes de FDA y FarmNazi celebran resultados último fármaco aprobado.

60 x 60 cm (Aprox).

(No tiene el fondo negro).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Obra muy decorativa estructurada en círculos concéntricos. Ejecutivos de FarmNazi (representados como cerdos) y de la FDA (con dudoso aspecto de paladines del bien) celebran cogidos de las manos los resultados del último fármaco aprobado por la FDA (no se sabe si resultados financieros o terapéuticos). En contraste, se ven escenas del sufrimiento que genera en los enfermos la administración de dicho fármaco. En el centro de la obra, el paciente genérico como objetivo (diana) de la multinacional y la administración. Nótese el mismo color de piel de los ejecutivos de FarmNazi y la FDA, significando que son la misma cosa, y cómo las moscas, en clara alusión a la calidad del producto, rodean las bolsas de la sustancia que se administra a los pacientes genéricos que bordean en cenefa la obra,

The Wheel of Disaster.

24" x 18" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

The generic patient is the main motif of this decorative work. Around the patient, concentric borders follow one after another with more generic patients in them. Another border contains a colostomy patient with a crown on his head, ironically signifying the sad destiny that awaits the king of creation, who is a poor sick person consumed by illness and deprived of the most basic functions, waiting for a near and painful death that has no remedy. Another border completes the work, with generic patients and a buffer zone that will soon be overcome by all the viruses, evils and miasmas that surround us in real life.  

 

La rueda de la desgracia.

61 x 45 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

El paciente genérico como motivo principal de esta decorativa obra. A su alrededor se suceden cenefas concéntricas de más pacientes genéricos y una siguiente de un enfermo con colostomía con una corona sobre la cabeza significando irónicamente el triste destino que aguarda al rey de la creación, como un pobre enfermo consumido por la enfermedad y privado de sus más básicas funciones esperando una muerte cercana y dolorosa para la que no hay remedio. Se completa la obra con otra cenefa de pacientes genéricos y una zona búfer que pronto será superada por todos los virus, males y miasmas que nos rodean en la vida real.

Disasters Never Come Alone.

24" x 5.7" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

As occurs in our society, where evil and pain seem to hide all over the place, the same thing happens with suffering and all things ugly (Where are the crippled, the Siamese twins, the cancer victims who suffer terrible amputations, the abused children that the church pays to keep quiet about what happened to them?). In this work camouflaged scenes of pain and suffering appear vertically, one after another. Upon closer observation, one can see a bishop abusing a child, a man kicking a baby, a man abusing a pregnant woman, a prisoner about to be executed. 

 

Las desgracias nunca vienen solas.

100 x 24 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Tal y como pasa en nuestra sociedad, que desde todas partes parece quererse ocultar lo malo y doloroso, así como el sufrimiento y lo feo (¿Dónde están los tullidos, los siameses, los enfermos de cáncer que sufren terribles amputaciones, los niños abusados a los que la iglesia paga para que no revelen lo ocurrido?), en esta obra se suceden verticalmente escenas de dolor y sufrimiento camufladas. Observando con atención, se puede ver a un obispo abusando de un niño, un hombre pateando a un bebé, un hombre abusando de una mujer embarazada, un reo a punto de ser ejecutado.

Mandala I.

24" x 15" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Decorative work in bright colors, full of scenes of pain and suffering. One of the last scenes added is the abuse that Asian servants – from Bangladesh, Sri Lanka, the Philippines, etc. – suffer at the hands of their masters in Arab countries. The lack of the most basic human rights is absolute, and the stories are horrifying. These servants, most of whom are women, are the last pariahs of these oligarchic countries ruled by rigid feudal Islamic monarchies. These poor women suffer all kinds of torture, mistreatment and humiliations, and their abusers remain absolutely unpunished. They are beaten, raped, burned and made to work like slaves in a sordid environment in which they are often made the scapegoats of all the punishable acts that might occur. Unfounded accusations of, for example, robberies that they did not commit and against which they must fight with absolutely no legal protection in an unjust, corrupt and inhuman judicial system that often ends in execution, mutilation, battery, etc. Another scene depicts “dog hangings.” When dogs are no longer of use to their owners, these heartless people often put an end to the lives of their faithful companions by hanging them in trees, thus inflicting terrible suffering on these poor animals, who see how their adored owners kill them in this savage way. 

 

Mandala I.

61 x 38 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Decorativa obra en vivos colores llena de escenas de dolor y sufrimiento. Una de las últimas escenas añadidas es la del abuso que sufre el servicio doméstico asiático - de Bangladesh, Sri Lanka, Filipinas, etc -a manos de sus amos en países árabes. La inexistencia de los más básicos derechos humanos es total y los relatos son escalofriantes. Estas, en su mayoría mujeres, son las últimas parias de esos países oligarcas regidos por férreas monarquías feudales islámicas. Estas pobres mujeres sufren todo tipo de torturas, malos tratos y vejaciones de las que sus causantes quedan absolutamente impunes. Las pegan, violan, queman y hacen trabajar como esclavas en un ambiente sórdido del que habitualmente son el chivo expiatorio de todo lo punible que pueda suceder. Acusaciones infundadas de, por ejemplo, robos de los que son inocentes y a las que tienen que hacer frente en una total desprotección legal y ante un sistema judicial injusto, corrupto e inhumano que a menudo termina en ejecución, mutilación, apaleamiento etc. Otra escena es la del “ahorcaperros”. Estos desalmados sujetos suelen poner fin a sus fieles acompañantes, cuando ya no les son de utilidad, ahorcándolos en árboles, infligiendo así un terrible sufrimiento en estos pobres bichos que ven como su adorado amo pone fin a sus vidas de este salvaje modo.

Patient 1,000,000.

24" x 6" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Reflecting the most blatant marketing and promotion techniques of many multinationals, like those of the tourism or automobile industry, FarmNazi congratulates generic patient number 1,000,000 with great joy and fussing, and thanks him for his support. In contrast to this festive motif, below the “fortunate” generic patient others can be seen, with a small sign with their patient numbers, none of them lucky enough to have been patient number 1,000,000. 

 

El paciente 1.000.000.

61 x 15,24 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Reflejando las más burdas técnicas de marketing y promoción de muchas multinacionales, como pueden ser las del turismo, automovilística etc, FarmNazi felicita al paciente genérico 1.000.000 con gran regocijo y alharaca, y le agradece su apoyo prestado. En contraste con este motivo festivo, bajo el “afortunado” paciente genérico se ve otros, con un cartelito con el número de enfermo, que no tuvieron la suerte de ser el paciente 1.000.000.

Generic Patients.

6" x 24" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Simple work in which several generic patients with different cancer conditions suffer the relentless pursuit of metastases, represented by crabs that seem to reproduce with greater virulence after the administration of FarmNazi drugs, which are supposed to bring about the disease’s remission. An infinite number of tumors surround the affected patients, making it impossible for them to escape from their ailment. 

 

Pacientes genéricos.

15,24 x 61 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Sencilla obra en la que varios pacientes genéricos con diferentes afecciones cancerígenas sufren el acoso de la metástasis, representada por cangrejos, que pareciera reproducirse con más virulencia con la administración del fármaco de FarmNazi que supuestamente tendría que hacer remitir la enfermedad. Infinidad de tumores rodean a los afectados haciéndoles imposible escapar a su dolencia.

Generic Patient.

24" x 17" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

Decorative work with a generic patient in the center, immersed in a huge tumor.  A series of “arms” branch out from the tumor, like metastases, all of them full of generic patients that have different outcomes after or while they receive chemotherapy treatment: some cry, others get dizzy, others scream, others die, all of them suffer. 

 

Paciente genérico.

 61 x 43 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Decorativa obra en la que se ve en su centro a un paciente genérico inmerso en un gran tumor del que se ramifican, como si de una metástasis de tratara, una serie de “brazos” repletos de pacientes genéricos que corren diversas suertes tras o durante la aplicación de la quimioterapia: unos lloran, otros se marean, otros gritan, otros mueren, todos sufren.

Wallpaper of the Generic Patient.

24" x 17" (Approx.).

Mixed Technique

(Can be done in other sizes. Prices vary depending on size).

 

In a clear reference to the possibilities that the generic patient and other characters offer, I made this “wallpaper” as a pattern. In the future I plan on publishing wallpaper, wrapping paper, etc., and using my characters as decorative elements in a variety of mediums that provide greater diffusion of my ideas. 

 

Papel de pared del paciente genérico.

61 x 17 cm (Aprox).

Técnica mixta.

(se puede hacer en otros tamaños. Los precios varían según el tamaño). 

 

Como clara referencia a las posibilidades que el paciente genérico y otros personajes ofrecen, hice este “papel de pared” a modo de patrón. Pretendo en un futuro editar papel de pared, de regalo, etc. y utilizar mis personajes como elementos decorativos en una variedad de soportes que den una mayor difusión a mis pretensiones.