Something we can find from primordial oral traditions, mythologies and folk tales, up to today’s cartoons and video games. Often faceless, anonymous, lost or alone, they’re represented in seemingly absurd settings that stand as both physical scenes and psychological states.Īt the same time, the total absence of gender or racial identification, it’s what really allows her subjects to function more as some kind of general allegorical alter egos of human nature.Īs we discuss these aspects of her work, I start realizing how those are indeed characters, but intended more in the classical Greek and then Latin meaning of “masks”, meaning stereotypical stock characters that represent a set of basic human attitudes. In this sense, behind the cuteness and the extreme simplification of forms, these cartoon-like figures seem to embark into an attentive but also unmerciful investigation of the monadism most individuals are inclined to today, unveiling the loneliness and fragility behind these socially constructed behaviors patterns. In fact, there’s always something cute, sometimes even playful in her scenes, but at the same time to most people they can also appear deeply disturbing and uncanny, because of the level of the psychological charge the artist inserts in the scene.Īs we discuss the work, she explains that she really started to deal with these characters just with the pandemic, as she was looking to express all a series of missing sensations because of the lack of human interactions and forced isolation.īeing herself affected by immunodeficiency and thus forced to an extra level of cautive isolation, she felt the need to deeply explore human behavioral and relational patterns.ĭorado’ character are indeed centred around a series of abstract psychological and emotional moments we all go through in our life: they project their sensations in the scene, forcing the viewer to confront and naturally read them.Īll her scenes appear to be centered around a specific feeling, which comes before any narrative intention, and gets then amplified by the surrounding atmosphere. In particular, the most recent series of works appear to draw a lot from anime and videogame world, not just in their aesthetic, but also and foremost in the visual/psychological narrative and linguistic devices applied. In the room, her characters are progressively taking form between screens, hanging sheets of paper and figurines and visual notes that inspire them, as if we were in an animation or comic studio. Floating on the screen, some Animal Crossing characters in loop, accompanying all a series of manga and anime miniatures around the room.Īll this immediately took me directly into her world, as to the visual universe I also grew up with, being born in the 90s in the age of Japanese cartoons colonizing all the Italian tv palinsesto, and with the emergence of Nintendo and Playstation. When I visited her at the studio in Queens, NY, Vyczie welcomed me with a cute frogs jumper. The work of Vyczie Dorado moves on this fine line between humor and existentialism, creating cute yet disquieting characters able to stand as universals for a set of human attitudes and behavioral patterns in today’s society.
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