Surrealismo # in/con·vertido

Pradillo was once described as an “unrepentant savage” because of his ability to interpret some occidental’s art matters from a peculiar ironic perspective, that, somehow, were in parallel to the fighting principles of the Dadaism (Un éxtasis para G.L. Bernini, 1980; Almuerzo sobre la hierba, 1983; Marat asesinado, 1985).

Very soon, the stripped of context everyday objects and the debris of the own artist, become the ingredients to create intimate treasures that will be presented as venerable relics in cardboard cases (Relicario; and Reliquias II, 1985), or to build boxes that, despite their hermetic shape, surpass the straight jacketing of the most primitive oneiric surrealism (Gran Hotel or Caja de Música, 1984).

In 1996 with the InCon·Vertido sample he announced an universe of “itinerant chapels” of dubious devotion (Cine, 1994; Muscus ex cráneo humanoEl continuo deseo de…L.F. retrospectivo, 1996), displayed with some other bigger pieces formed by stuff found in dumping sites and recovered for the artistic creation (Onanismo, 1988).