It is not simple to divert Pablo Boneu’s work (1969) from his own life. In this sense he is a contemporary artist that uses different genres and expressive media, and he is not limited to expose his finished products, but rather puts himself constantly into question. However, unlike most of the avant-garde artists, his intention in the process of creation, as a vital experience, joins intimately with the obsession to present a finished product, consistent in its implementation.
So much so, that two critical impulses can be compatible in his work: on the one side, the idea of production as a serial repetition of one same object, and on the other, the idea of a traditional work of art as a handcrafted fetish. The tension thus originated in this double-fold criticism, is visible in all his productions, and it develops what one could call, rather than a style, a Boneu world, a self way of art making and being an artist.
In the mid 90s, in conjunction with intense graphic guerrilla activity on public streets, Boneu begin/began exhibiting his work intermittently in museums an art galleries; from the Recoleta Cultural Center and the Spanish Agency for Latin American Cooperation in Argentina, to the center of the image and Hilario Galguera Gallery in Mexico.
Far beyond filming, shooting, drawing or writing, Boneu invents structures. A most peculiar class of structures, which are, at a time, both close and open. Close, because they have a staunch internal coherence and open, because they can indefinitely proliferate.It would not excessive to assert that Boneu’s works are ruled by the aspiration to a non-end, to mix and assimilate to things, to become with them into another, still unknown world.