In/Dependant States

For fear of retribution, polite society often prefers to circumnavigate around many socio-political issues in order to avoid a confrontational dialogue. In contrast, artist Iggy Rodriguez epitomizes an honesty of soul by confronting his audience head on with bare and disquieting facts. By singularly using his talent to bare the veracity of societal issues, he appeals to us by flaunting an extraordinary talent to draw us in what often seems, at first glance, a grotesque world of exaggeration and the surreal.

In/Dependent States, in fact, epitomizes a strong yearning to relieve the misery of the oppressed, by provoking us with true portaits of the downtrodden, replete with festered lesions. But as pain is often regarded as a beautiful state of being before transfiguration, Rodriguez uses his amazing and uncanny ability to transcend the hideous and repulsive, through astonishing twists and turns of a gifted hand – creating oddities of magnificent beasts for his audience to behold. In effect, his visual statements nudges the curiosity of the viewer to indulge, to probe, and deconstruct the eccentricities of his work – and what one would regard as a quiet triumph for the artist.

After a decade of seeing art come and go, there are occasions when one comes across a true blood, a thoroughbred talent, who easily stands out amongst his peers, and stops us dead in our tracks. Raoul “Iggy” Rodriguez is indeed one of them.

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