The masterpiece collection
In Martin Llamedo’s The Banquet, the two picture-perfect women look dehumanized, possibly cloned or otherwise evolved into automatons, timeless figures. The women do not seem unhappy, but likely leading mindless and soulless, painless and pointless lives. The gauze on their bodies may reflect their evolution. The sterility of their existence is further underscored by the bright, almost surgical, light that floods the scene. The figure on our left is reserved, but accepting with her hands slightly open towards the viewer. The figure on the right has more trepidation and, with her hands closed and turned away, she rejects.
Conceived and undertaken years before the advent of the coronavirus and its ensuing climate, Martin Llamedo has proven himself eerily prescient of alienating trends in modern society and offers us a sobering glimpse and stark warning, of what we may become if we no longer honor our perfect imperfection as humankind.
Martin is an ultra-immaculate artist with a heightened attention to detail, in both his preliminary planning and the actual execution of the artwork. He is very versatile in the arts, as he has experience working with sculpture, music, and curating the sets of theater productions, while also holding an Master’s degree from National University of Art in Buenos Aires, Argentina.