Starting from  more globalizing premises –equally scathing and iconoclastic–, Seco's new canvases assume a return to the spirit of painting, leaving a little to the side, after several years of successful coexistence, the production of dioramas, models and videos; even so we can see a couple of them. The disasters of war, the collapse of civilizations, politics or the revenge of nature continue to be driving obsessions in the artist's new production.

Between social criticism and postmodern still-life, colossal ruins and birds run through these surreal panoramas, appropriated from baroque artists such as Snyders, Claesz or Chardín, fallen or crashed like bombs on buildings. Stripping the canvases of the marked pop character from previous series, he restricts the use of bright colors to exclusively use black and white and their derived chromatic ranges. The result is photographic and documentary: stark images of the disaster.

 

The literary references in his new work refer to the cycle of apocalyptic novels by JG Ballard or to novels such as the Fatal Eggs by the Ukrainian writer Mikhail Bulgákov, as well as The Food of the Gods_cc709 -3194-bb3b-136bad5cf58d_by HG Wells.