‘Love and disgust’
If there were a CSI for art and an agent were to do an analysis and dip a cotton swab in the red, blue, violet or black of one of the canvases in Love and Loathing, the result would leave no room for doubt: in addition to acrylic, the composition of the painting would contain a high content of tears, blood, fire, pain, sweat, unspeakable fluids, rage, fear… The surprising twist would come when the counter-analysis is requested: the exhibition also contains, unexpectedly, traces of the most addictive drug: hope. That is Love and Loathing, the vademecum of the emotions that soaked the adolescent diaries of the writer Bebi Fernández, translated into the personal language of Rebeca Khamlichi’s brushes.