CARME CENTER. Museum, 2
Of all the urban artists who have designed the municipal falla in recent years (Black, Pichiavo y Escif), Dulk is the one that, a priori, It best adapts to the classic structure of the Fallas monument. In his creations he usually puts animals together, intertwined in complex and narrative compositions that send a clear message.: The relationship between humans and nature is destructive.. Its soft color palette and rounded shapes contribute to creating a dreamlike atmosphere of calm that is pure cover., If we look at the details we find animals with a lost look, who cry, lanceados, chained, with the guts out, with collars, sliced torsos and fangs, what, powerless, wait for a reaction. He lowbrow (pop surrealism) of Dulk—who drinks from Dürer, Jan Van Eyck, Dalí, Magritte and, above all, Hieronymus Bosch—puts himself at the service of the rondalla and the clay, the anchors of the project Mud washer which he presents in the Center del Carme as an extension of the fault that, this year, will not be planted in March. The rondalla is a short popular narrative from oral tradition and clay is a material that refers to creation in our Judeo-Christian tradition., two elements with roots in Valencian culture through the figure of Enric Valor and the natural area of La Albufera. Dulk uses them to talk to us, on the walls of the museum, of the atavistic generosity of nature against the selfishness of predatory man. It is a sensory project that involves the viewer, the visitor is another character in the paintings. Dulk has painted all the walls of the room with murals, to which is added a series of medium and large format sculptures that seek to involve the public. A dream tale about the behavior of the Albufera species, about how climate change is affecting them. AU
