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Carlos Pazos, born in Barcelona in 1949, is characterized by his ironic, critical, and original approach. He studied Architecture and Design, and his artistic activity began in the late 1960s. Pazos’s works consistently reference childhood and past times, combining a strong poetic essence with a kitsch aesthetic. He often incorporates words, letters, and symbols into his compositions.

Pazos’s art reflects various stages of his life, where memories from the past manifest as objects and images, accumulating and blending in the artist’s work. The titles of his pieces engage in semantic play, intertwining with the elements they encompass. The interplay between titles and elements reinforces the conceptual depth of his works. However, it is essential to note that Pazos manipulates and ironically transforms these constant references to his past, playing with them and offering reinterpretations.

In a statement related to receiving the National Prize for Plastic Arts in 2004, Pazos expressed his perspective: "For me, life is a collage. I cut and paste, just like I do with images or objects. I like collage because it is a quick, direct language with fewer prejudices. Moreover, I believe that continuing to fill the world with new objects and images deafens us and prevents us from seeing the moment."

Between 1991 and 1992, Pazos conducted one of the workshops on Contemporary Art at the Circulo de Bellas Artes in Madrid. In 1993, he received the Visual Arts grant from Grupo Endesa, and his work "Bonjour Melancolia" (1980) was selected in the I National Biennial of Visual Arts known as "Preliminar."

Carlos Pazos is highly respected in the intellectual circles of Spain.

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