Rodrigo Cacho

Rodrigo Cacho focuses on three different themes: the present, the past, and the
future. In the past, writing was an advantage; the one who writes is the one who transmits,
the one who communicates is the one who transcends. The problem comes when the majority of
people do not have access to this tool; not many people can
convey their perspectives and their ideas. This notion that history is literally something that happened is a little funny, complicated, and ironic. None of us were there to witness and judge it, to write our own perspective of what happened; we do not know whether the person describing these events to us does so through an objective lens. In the end, this thing we call “history” is
simply a perspective, a celebration of one side, a small part
of the puzzle . I translate this in my works through four elements;
the first is ancient sculptures. Greco-Roman sculptures were
originally painted in very vivid colors; over time they gradually
degraded and transformed into what we see today, very pure, very
white sculptures; for a very long time we thought we knew what the message
these sculptures wanted to convey was, but we were wrong; time
distorts history. I reproduce these sculptures on the canvas and then
intervene on them with confetti, an ephemeral material, something used to celebrate that immediately disappears and that, over time, just like these
ancient sculptures, gradually loses its color until it becomes a distant image
of what it once was.
The last two elements I use are blue and gold; blue is an element
of religion, an element of status, of royalty; it was a pigment very expensive to
produce, made of lapis lazuli, a pigment that very few people could
commission artists to use, a very easy way of saying “I am
important”; alongside blue, gold, which is still used today as a symbol
of status - you can generate an immediate reaction with this precious metal.

Now we jump to the theme of the present. The present is the only place where the
actions that will cause real consequences are generated, the only place with the
ability to transform what is going to be translated and set down in real history. In
this case I use photographs of figures who are alive or who belong to our
period; I use their mind as an element in the composition and an element of
change - everything comes from the mind, it is a universe in itself; the strokes I use
emulate clouds, expansions, ideas. 

Speaking of the future, the future does not exist; the future is an idea, a possibility, a
potential that never comes to materialize. We cannot live in the future; we never
experience it, but despite all this it will always be there. It is an
abstract element, an element of uncertainty, and that is how I represent it in my
sculptures, with explosive  and abstract forms. I use materials that
transform uncontrollably, such as polyurethane foam, to which I give
a path, I guide it, and then it expands and decides its final form; upon
reaching its destination, through its form, texture, and volume, it gives the illusion that it will always
be in eternal change.