The sample with Andrew Planas (Palma, 1957) has returned to palmesano exhibition arena after 24 years of absence has four seemingly different but with the same common core fronts: the abject (in the artistic sense). The works featuring skulls, and black habits and cassocks Mediterranean series, although presented under colorful collages are a sample of the foray into this territory. So are women with breast implants removed from the series The Temptations of St. Agatha, and video projection in which this procedure is registered. Complete repertoire jars containing fetuses made of terracotta skin Souvenir de Mallorca.

The interesting; outside the formal resolution and flawless execution that give great appeal to spare; is the approach that flies all this work. For the contribution of the component elements might think that this is a protest art that questions the sacrifice made by women to attain the standards of beauty imposed by society.

So (deduce), we resort to exposing assemblages prosthesis with the labels with texts fabled potential recipients, which could function as a sociological analysis; or images of operations implantation or surgical removal underlining its crudity and violence by the sight of blood and wounds are projected. Also the presence of cassocks, alluding to the repressive teaching of the sixties, could be thought as a historical and social review that was positioned against the educational system.

However, Andrés Planas confesses that his intention is not precisely that of social criticism. In relation to the harmful influence of restrictive methods used in schools in those days, says the need to obey draw their ghosts as a catharsis; reason why also invoked regarding the repeated inclusion of the skull as packaging and container-therefore-symbol of being, ie, the identity of the person; ultimately the self.

This view of himself, clad product elements trauma or wounded body (nothing hurt that death represented by a skull or a fetus) is that, along with other reasons (dentures) could be understood as the category of the abject to Julia Kristeva, argues: "That which I must get rid to be an I," neither subject nor object. This condition would be suggested by scenes including injury and death, with images that evoke the body upside down, inside out (viscera, blood...), but also by the subject invaded by the object (being by the skull bare).

Abyectar would, according to Kristeva, expel, remove, and this operation could move all the pieces that make up this complex, disturbing but entertaining shows two accompanying volumes that add appeal to this vision of the dark.