the streets of Boston one finds the bustle of the outdoor cafes filled with college students, in view of the Charles River with sailboats pushed by the wind music of buskers and a rich cultural environment tasty supported by art galleries.
was one of those galleries where I discovered the work of Sebastian Picker. My first impressions of his paintings was a painting rich characters in a delicate tenderness. But after a while the work is revealed in its entirety. And is that the characters used by the painter are the same, copper colors give a feeling of warmth that invites you to continue monitoring and social issues have a very interesting aspect. 
To put it simply: the painting of Sebastian Picker is a delicate mixture of images, is a happy encounter between beauty and expression. Form and feed back resulting in an entirely contemporary work, but the elements that are having strokes, even dating back to the classical school. 
Sebastian Picker was born in Santiago de Chile in 1956. But from a young age the artist lived in exile uprooted when his family decided to leave the country after the military coup and the Pinochet regime's injustices. Anyone disagree disappeared without trace. The flagship event of the injustices of that time was held against the musician. And so his family went into exile. This event caused in a stage production painter somber, almost monochromatic, immersed satyrs and political elements. Among friends I had good reviews: "change your shades of gray to another color," he said, but the need to express the horror of living in a self-taught, they did continue with the same style.
This period evolved so that his work underwent a change, and the light in his paintings began to appear more Byzantine in its management. The golden light seems to come from their own characters. Such is the case with his picture in the office.
In his most recent works, the artist seems to mock the media. In the painting Metamorphosis, a marriage occurs reading the newspaper but their heads are an accurate reflection newspaper that apparently puts up with the news. These figures seated with passive and sad eyes, no feet. It seems not to advance ever. In other diseases such as Labyrinth and informed portrait of a couple are the same media which deprive man of a deeper search. All roads lead to the same: alienation.
And it is this mass deception which is reflected in their plump figures, empty expression, pretending to children, almost babies hair and little round heads. As previously stated, in all his pictures the character is the same, and the identity of modern man that celebrates all that depersonalized us, that is, everything that moves us away from our own soul. "I've always been concerned about the human soul but I'm not a religious person," says Picker. As manipulating the masses through information is a recurring theme in his work, social injustice is another. In imbalances and a bigger house becomes clear that the privilege of some few will be built at the expense of a large number of underprivileged people.
In the color palette and the sharpness of his technique, Picker recreates a space in which the intention is rescued classical art. The artwork looks to be a means by which speak the truth. In the rhythm of their images reveals more than one subject, the viewer finds references to the world in which he lives, but always within a halo aesthetic, always in the balance between beauty and truth.
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