Crimen Perfecto 1930

Curator: Standing before us is Ángel Planells' painting, "Crimen Perfecto," created around 1930. It's a fascinating example of surrealist painting of the period. Editor: It's bizarre, isn't it? This strange figure – the color palette, the disquieting imagery… it evokes such a peculiar sense of unease. What is that thing? Curator: Let’s consider Planells’s methods. The work presents us with an unusual composite of disparate elements. There's the humanoid form comprised of a twisted torso and limbs rendered almost sculpturally in cool, contrasting shades. But this anatomy merely frames an unsettling tableau. Note how a seascape constitutes the "face" and a smoking pipe represents the nose; on the left side, some bloody scissors and to the right, a knife pierces the being near an engraved title which translates to ‘Perfect Crime’. What is your take? Editor: It definitely feels symbolic, doesn't it? Planells was painting during a politically fraught time in Spain, and imagery of violence, crime, and dismemberment can be traced through political art since Goya. The rise of Fascism looms heavily in European art during this period. Curator: Absolutely. Also consider that Planells, along with other Surrealist artists, were interested in exploring new techniques in automatism. He used collage-like effects, with sharply defined images assembled together. There is no trace of brushstrokes which create flatness and highlight contrasts between form and content, especially when it comes to deconstructing and assembling objects. Editor: Yes, you see that push and pull of tradition versus modern methods! It all adds to this unsettling vision. Looking closely you realize it’s a rather skillfully done, using fresco and oil paint… I am now wondering about labor practices surrounding Planells' production during that turbulent moment of history. Curator: A productive thing to ponder about while seeing "Crimen Perfecto.” There is such intensity in it that perhaps we now feel compelled to reconsider surrealism and understand Planells as more than the echo of Dali. Editor: Indeed. Thanks to your careful eye to materiality, my understanding of this image is vastly changed!