The piece is articulated as a set of sequences with a ritual character in which different operations and techniques, around the underlying materiality in the fantastic period of the work of the Polish painter Zdzislaw Beksiński, are explored. Dense, tremendously tactile scenes in which man and his history are exposed as a sort of dialectical bestiary, loaded with references to both the oniric and the physical world, making use of apocalyptic scenarios.
In his paintings, there are recurring references to archaeological places, deserts, damn cities of antiquity, etc. He also shows great interest in biomechanical structures, bones, corpses and all kinds of material references that possibly derive from his training in architectural engineering and technical sciences. Beksińki has written, “I wish to paint in such a manner as if I were photographing dreams”. In other words; using an instrument to technify the dreams.
The idea of anti-fable is used as a dialectical counterpart, since in this bestiary there is no transcendental or moral objective, as proposed in the medieval bestiaries, but an accumulation of techniques that are exposed confronting the part with the whole.
