"La Chute 51"

the last supper

cibachrome, glass, aluminum, plastic foil

lable on table verso, titled, dated and numbered

The fall of Icarus, our hopes crumble, our loves are lost. In short, Ángel Marcos deals with desperation. This new work has been captured in Brussels, capital city in the northern South that has managed to conserve part of the baroque of its Spanish influence, of its interior disproportion. Ángel Marcos stages his actors as couples, as families, where day-to-day events gradually leave their dregs of boredom. She dreams of a great story, he looks at the clock. He sleeps, she is unsatisfied. In these images, we are reminded of Dutch paintings: at the same time, there are pictures and scenes of the genre, all bathed in a light that models to perfection the smallest of details. The play and the form contribute in joining reality and fiction, the sleight of hand fades away. At first, the photographs are pleasing to the eye but they are soon to hurt by reminding us that there is nothing worse than loneliness in a couple.
(Jean-Louis Godefroid)