Unsuspected and unfortunately sensual, José Balboa’s artistic proposal oscillates from testimony to subversive issues. His gaze over the grid of everyday life is often dislocated to make way for some resulting element. Therefore, his proposal is pretentious, emphatically dramatic and tempting. He works on the idea of assembly and simulation, using for this pursuit a lexicon that is in debt with the theatrical narrative. Being aware, he avoids crossing the threshold of logic and each time, the act of misplacing, far from provoking feelings of estrangement, only offers singularity.
No matter from which motives, the topic of possession and, consequently, of inclusion, will be always mentioned. It is almost an obsession and even reaches perverse nuances. Sometimes he is ready to exercise a kind of narrative synthesis in which the representation or the photographic motif are nothing more than a nod; in other occasions it is immediate and creates a dissolute atmosphere in which the severity of the fact is felt in advance.
His is a recreated photographic look and tends to enervate, from the realm of symbols, the fibers of the speech of loss. It is also a gesture as attentive as seditious. Nothing seems to keep its first nature in the field that is framed in his images.