The works of Antonio Asensio position the viewer in constant doubt about perception. Purely social, in that his work is nothing more than a reflection of what surrounds him, Asensio’s art plays with criteria and its transgression. Sometimes you can observe in his work a clear, although hidden, concept that sends us a purely political message while at the same time you can glimpse absurdity for absurdity’s sake, the denial of motivation, pure slippage. This dialectic of the criterion and its transgression makes it difficult to catalog despite the fact that this difficulty is precisely what defines it.
Not following a fixed path, reconstructable, or identifiable by the viewer makes it evident when searching for a meaning, a clear or permanent idea of something that identifies his vision with his concept of Antonio Asensio. Pure game. However, he is not a dilettante. It does not fall into the emptiness of meaninglessness since the transgression of its criteria and the giving wings at times to mere creative inertia without its own purpose manage to link message art with silent (but not dead) art.
The aesthetic goal pursued differs from the beautiful precisely because the social is nothing more than the culmination of incompleteness, an ode to the imperfect, the failure, the error, the stain. The unprofessional, poorly worked appearance and the rough finishes of Antonio Asensio’s work are his signature without being his image since his work is nothing more than a reflection of everything around him, pure imperfection. This does not mean that he appropriates what is half-made, but that he uses it.
Art as a consumer product is an evident theme in his works. Whether with a more or less underground message, art in general ends up being a fungible, collectible product. Myth. Hegelian dialectics defines this process well; The human being does the opposite of what is established until this ends up being the establishment, then returning to the initial position, and starting again. Playing with this movement that the human being performs in an unfailing way is a principle that is evident in the works of Antonio Asensio as a spontaneous stimulus. Taking this movement at will, which clearly contains a criterion, and playing with contributing to it on occasions and not doing so on others, results in a constant game of doubt about the need and fit of art, as a product, in a society. like the current one.
Currently Antonio Asensio follows three lines of artistic research grouped under the labels of Sensi, Roem and Ahcor.
