The collection expresses Farley’s admiration for revered artists as he
presents playful versions of their works—pieces so popular that they
have been honored time and again through replication or partial
alteration. This body of works, however, differs from other tributary
renditions in that it features Del Rosario’s distinct yet familiar
round-eyed urchins, with curled lines as arms and legs, taking the place
of the original subjects. His stamp of circular patterns here evolves into round pompom-like whimsical accents and are joined by brightly colored, almost alien receptacles and candy-like outcroppings.
presents playful versions of their works—pieces so popular that they
have been honored time and again through replication or partial
alteration. This body of works, however, differs from other tributary
renditions in that it features Del Rosario’s distinct yet familiar
round-eyed urchins, with curled lines as arms and legs, taking the place
of the original subjects. His stamp of circular patterns here evolves into round pompom-like whimsical accents and are joined by brightly colored, almost alien receptacles and candy-like outcroppings.
Del Rosario, whose mind is a playground like no other, says he paints his dreams. Even night terrors inspire his naïf renditions. The results however, are not depictions of despair, anguish and desolation, but rather, they take viewers on a walk of cocooning hibernation that anticipates the irresistibly strange.
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