Dystopian art created by Lobsang have very unique characteristics. Although the worlds he is creating do not paint the best picture of our future, these worlds aren't intimidating. It is possible that his dystopian art is not a conclusion, is not the final judgment but just a single frame in a film reel. If we look closer, we see how the objects he is painting are always in motion. Maybe that is the secret to his art that is so inviting. We are expecting a new frame. We are hoping for the Happy End. We are not sure if this is really dystopia.
Lobsang uniquely provides us with a different perspective, an alternative reality. He is not saying this is what we will come to. He is saying, this is what possibly can happen. And at the same time, his childlike imagination is running wild with the possibilities.
Who is Lobsang Durney? A visionary, surrealist painter who interprets with his brushes a symphony of colors. Valparaíso has big eyes that intimidate. It is an enchanted city. A recognizable bus among everyone else, yellow and green, ended his life in this unusual place. Despite this feeling of Revelation, the mechanics of life continues. The paradox of destruction conveys its message.
The imagination is not content with the limits imposed by reality.
She has the ability to create other parallel worlds. That is magic.
Lobsang has developed his own line: selected environments, elaborate staging, transmission of a message, freedom of interpretation of that message emanating from the heart of Valparaíso. The message is definitely related to its Chilean origins but ultimately, outside of its context, it belongs only to the imagination of its spectator.
In his last exhibition “Doble Estandar” ("Double Standards"), Lobsang raises the question of an economic power that, at present, permeates all life experiences, unifying them. Optimistically, we give in to a schizophrenic exercise of consuming and being consumed. We move between impossible sincerity and false flattery, between the voracious eagerness of success or its weak simulation.
Suppressed bodies, demolished architectures, miseries and contradictions of the social corpus are revealed in the art of the exhibition. The artist has removed the veils, exposing to light a bizarre socioeconomic entity that, as Mark Fisher defines it is: “infinitely plastic, capable of metabolizing and absorbing any object with which it makes contact". Lobsang machinery alludes to a dreamlike detritus culture. Located on the periphery of degradation, organic-mechanical contraptions refer, as Burroughs says, to "a soft machine", in useless struggle against the entropic dispersion of its parts.