In another objetual conception Victor Hugo Bravo develops an artwork that demystifies the healthy filial, familiar and educative organization that composes the father and the macho. This symbolic strong figures run into objects in his painting; the ideological and necessary overflow to make themselves tougher, wilder, more anomalous.
This way of inventorying the objetual canon of art, hybrid and politically incorrect supposes –in the spectator – the interpretation of a political, popular and native culture, full of riddles and curses, authoritarianisms and perverted rules.