There are strong similarities between Troncoso’s work and art historical precedents. For example: Iluso smacks of Margritte, Real’s bad acid trip made flesh, borrows from a similar work– which escapes me at the moment but also used fragmented images attached to models’ bodies for unnerving effect–both owing a thing or fifty to Max Ernst.
But I can’t help thinking the references are little more than premeditated sleight of hand. The first clue is the image quality. There simply are not that many people around who can coax decent greyscales from digital equipment. Second, though his Flickr account is noteworthy, his personal website–despite its awkward and unwieldy layout– is incisively curated.
My Spanish is quite rusty but I ran Troncoso’s artist statement from the body of work in which this image features through a translation engine. What resulted was borderline nonsense. I tried to clean it up a bit–bear in mind my Spanish grammar is severely limited by my utter impoverishment when it comes to English grammar:
These images were performed over the course of five years and are chronologically arranged to portray a questioning evolution. A journey of visual interventions that came together in interpretations and symbols. Each photograph is a projection of my imagination, inspired by feelings involving me with this world. [A world where] reality and time intertwine with the infinite. The images seek to portray this connection.
Correlations with Margritte and Ernst shift to the background and I am left thinking of Yves Klein–specifically Saut dans le vide. Whether or not this is an astute response, there is something of Klein’s brash dynamism in Troncoso’s work.
Honestly, it matters less to me how they work than that they do–quite well, in fact.