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“El arbol de la vida” (the tree of life) reviews the iconography of popular roots from Latin America and the influence on the author.
Zosen expands a mythological bestiary of planetary signs crossed by irony and tradition.
Emerging from the graffiti scene and after contemporary art, Zosen shares similar sensibilities as the local artisans of popular culture and folklore that flows between the differences of Europe and Latin America.
He represents an imaginary influenced by the mass media, individual reflection and life in the city or interaction with nature; while commenting on cultural and social aspects of his origins.
He takes “El árbol de la vida” from the christian culture to transform it with his visual language into something else, stripping it of religious meaning and turning it into a psychedelic trip to the rhythm of cumbia.
After twenty-five years of action in the streets, Zosen has become part of the distinctive visual landscape of graffiti and murals of Barcelona. The city recognizes his familiar imagery, colorful, somewhat nostalgic for mass culture.
The inspiration behind Zosen’s show A Tree of Life (Spanish: Árbol de la vida) are the traditional clay sculptures created in central Mexico, especially in the municipality of Metepec, State of Mexico. The image depicted in these sculptures originally was for the teaching of the Biblical story of creation to natives in the early colonial period. The fashioning of the trees in a clay sculpture began in Izúcar de Matamoros, Puebla but today the craft is most closely identified with Metepec. Traditionally, these sculptures are supposed to consist of certain biblical images, such as Adam and Eve, but recently there have been trees created with themes completely unrelated to the Bible.