Roberto Lopez Martin

Roberto López Martín - Avatar Midas.

Biografía del Artista: Roberto López Martín (Madrid, 1982) is a multidisciplinary artist who graduated in Fine Arts from the Complutense University of Madrid and has a master's degree in Art and Creation from the same university. He works with different media, such as painting, video and photography, and combines them to introduce the viewer to his work. Despite being young, he has participated in several national and international projects and exhibitions, such as "Hostel art by Pac" organized by the contemporary art platform, "Las lágrimas de Africa", "La Valla 100 artistas en la Frontera Sur" Utopicus in Madrid, the collective exhibition "Estudio 120m" at the Wurth Museum in La Rioja, the collective exhibition "II Salón de las vanidades: Barroco Nuevo" at the Ducal Palace of El Carpio in Córdoba, and has been selected for the Exhibition Program of the Tomás y Valiente Art and Exhibition Center in Fuenlabrada, Madrid.

The child, behind the created mask of false childhood, becomes a series, a catalogue reference, a kind of avatar or a graphic representation, totally distorted, which is associated with a user for future identification in his demand. He positions himself behind the toy-product, acquiring those values, enhancing emotional anesthesia and following the pattern of what we call networks. Roberto Lopez Martin has participated in international fairs in Malmo (Sweden), Just Lisbon, CEART, ESTAMPA and Art Madrid. In 2020, his series of sculptures Avatars, Los Niños Tele will be presented at the Art Madrid Fair. 2022 presents work at Art Madrid, JustLx Lisbon and Fig Bilbao. https://ddrartgallery.com/collections/roberto-lopez SCHOLARSHIPS AND AWARDS 2016 UPHO Selected Urban Festival of Contemporary Photography. (MALAGA) Estampa 2016 within the poster program by Pac 2013 Selected Estudio 120m Collective exhibition at the Wurth Museum, La Rioja, Collective exhibition “II Salón de las vanidades: Barroco Nuevo, Palacio Ducal del Carpio Córdoba. 2012 Selected in the Exhibition Program, Tomás y Valiente Art and Exhibition Center, Fuenlabrada, Madrid. 2011 Shortlisted for the Intransit Competition. 2009/2010 Academic Year: Internship in Painting Techniques with Professor Daniel Lupión at the CES Felipe II (UCM). Works selected for the Drawing Department collection (UCM). 2007 Selected for the Villa de Valdemoro Painting Competition Exhibition, CC.00, Madrid. 2006 Selected for the Young Creators Exhibition, II Plastic Arts Competition, in the painting and drawing category. Aranjuez, Madrid. AVATARS. CHILDREN'S TELEVISION. In his work, Giovanni Sartori warns of the impoverishment of understanding and the loss of the capacity for abstraction. Both facts are caused by the primacy of the image (television) over the written word. Toys are an essential concept and one that takes on its maximum value in the context of human development. It is through toys that children explore, discover, learn and interact with multiple objects and problems that form an important part of their proper development as individuals. The companion becomes the screen on which the child's own emotional states are projected, which can then be articulated and managed. Stuffed animals are there when children feel they have been left alone, they give them a firm balance and function as conversation partners and thus contribute to psychological resilience. For children, the companion has a personality and is quasi-alive. Intuitively, they attribute feelings and a personal will to it. In fact, they establish an imaginary relationship (“parasocial relationship”), which allows the child to experiment. However, in the current era, play has become subordinated to large corporations and big brands that use toys to promote a way of life, setting patterns and consumption habits, leaving no room for this relationship since the product calls the shots. Today, ideal companion models personify something with their presentation, material and references (e.g. a TV show). Dolls have a skin colour, stuffed animals refer to specific types of animals and characters to specific shows, etc. Through these works I propose the symbiosis between children, brands, and games, the latter two being responsible for alienating the child's systems and limiting their system of social relationships. Changing it, transforming it to such an extent that its own childhood is disfigured. In other words, it prepares the child for a new role, and what remains is the collage creation of different consumerist habits. The child remains ultimately, behind the tangle, the dislocation of the manipulation suffered and thus can serve as a kind of product communicator and mediator between parents and children. The child, behind the created mask of false childhood, becomes a series, a catalogue reference, a kind of avatar or a graphic representation, totally distorted, which is associated with a user for future identification in his demand. He positions himself behind the toy-product, acquiring those values, enhancing emotional anesthesia and following the pattern of what we call social networks. The child, behind the created mask of false childhood, becomes a series, a catalogue reference, a kind of avatar or a graphic representation, totally distorted, that is associated with a user for future identification in his demand. He positions himself behind the toy-product, acquiring those values, enhancing emotional anesthesia and following the pattern of what we call social networks.