Francisco Diaz Scotto aka Pastel is a painter and an architect from Buenos Aires, Argentina. "Far away of conventional architecture, I understand work on the street as a urban acupuncture. Modern cities are full of “Non-places” because of irregular and not inclusive masterplanning. So paintings can be a kickstart for those places, working on the local identity and not being another tool of social gentrification. Working with flora as social symbolism, the pieces begin a dialogue about the nature of man and his surroundings. The existential, real, pure and tragic, almost forgotten in modern society. The significance of social failures is interpreted in a transference from its authors to the actors and reactors as a limit imposed on the need to divide spaces in a binary manner. The set of actors we understand as those who move dynamically or statically through communal spaces (pedestrians, vehicles, graphics, buildings, bridges …), and reactors, which are those that are a result of man-made errors (non-places, cracks and reclaimant nature). The assessment of nature that springs up in these spaces, as an unconscious or rather supernatural reaction to them, transforms the space into a social reactor to become a new element of the landscape.

The symbolic burden of error and its consequence are the mere description of the involuntary result of the cities that attempt to operate from the absolute as the mother idea."

“Boni” Giclée print comes from an original acrylic and gouache artwork on canvas by Pastel:

“Boni is the synthesis of a personal journey through childhood scenes. Invoking the emotional memory, Boni resists the destruction of those intangible sensations which seek to take form in this work. Remembering my riverside home and its intimate contact with Nature and her textures, perfumes and colours, Boni is an essay on the subtle yet intense reproduction of sensory perception – being the ability to enter into contact with our external environment – and memory. Boni recalls conversations with my granddad, seated next to Boni our dog, after a long day of fishing. The ficus, sansevierias and camellias stand quiet and enduring testament to the mutual relationship between emotion and memory; they symbolise internationalisation of the scene and leave their inevitable mark on the image. The colours, abundance of textures, and Boni as central subject become a dialectic representation of the journey into the subconscious archive.” Pastel

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