Like a Slaughtered Lamb (2013)

Boesmi in search of lost space and the vastness of shadow. When Sebastián suddenly encounters the body in a burdened and lacerating form, the graphic style that filled his canvases in his previous series becomes part of a background crisscrossed with images. This realm, invaded by his spontaneous drawings derived from comics or children's games, resembles trails that reveal a script of secret messages that no one can decipher, not even those who, like me, have followed his career for years—something he neither attempts nor intends to unveil, what lies behind those graffiti.

Now, great figures have entered the scene. Their work has grown by presenting us with this new apparition, as if it were a matter of naming a nameless and as yet unexplained anguish. From this game of hieroglyphs, a shadow has emerged.