Graphite still lifes in which align handcuffs, clamps and bandages between water bottles and towels …, hanging ropes, leather masks … bondage articles solved with meticulous stroke. Daniel Tejero seems to adopt the role of graphic witness of a crime scene, leaving visual proof of each element to the expert report.
He was there but the viewer arrived late, so he let him traces to reconstruct his own history. The curiosity of each person reopen the case, inviting us to get lost in the folds of the line, to sink into the chiaroscuro of our own desire.
By showing the fetishes and not the bodies, stopping at the alfterwards and not in the act, Tejero avoids the scopophilic impulse being meddle in our experience, so the passive position of voyeur that often promote representations of BDSM barters in a invitation to delve alone in those empty but filled spaces.
Loaded with post-orgasmic release of that is recorded by objects of pleasure and pain, traces of agreed games of submission and domination. Daniel Tejero enter these spaces of private and transgressive enjoyment in a public space and guarantor of “good taste”, an art gallery. In this shift, the asepsis of the white cube seems to infect the way that reality is represented.
But is precisely this deliberate asepsis where lies the transgressive force of Operatorium, because what is operated, dissected, is the throb of not legitimated pleasures printed on the pulse of his drawing. Therefore he moves also his workshop to the gallery, where he witnessed a session of bondage and where that action was transmuted into remnant.
As in the previous series, Benidorm’s Confluvium, where the underworld of cruising was transferred to the gallery but without the stigma of the sordid, where drawings of beach cabins, soulless underpasses, stacked deck chairs, acted as visual metonymy of not regulated desire, also in Operatorium naturalizes sexual practices often left on the margins.
Taking advantage of the autonomy of the aesthetic judgment that gives the gallery (Kant already affirmed the absence of relationship between art and moral), Tejero invites us to suspend moral judgments and address the claims of pleasure, from contemplative to lubricious, making us question why the limits of the socially permissible when it comes from incorruptible core of desire.