For over thirty years Tomás Sánchez has been engaged in a constant re-investigation of the significance of landscape as a major form of artistic expression. This genre may have been exhausted and drained of all meaning beyond stereotypical kitsch. Sánchez reinvests it with a new set of signifiers which, once decoded by the viewer, reveal a depth of implication and a vocabulary of symbols that may be understood as nothing less than subversive within the parameters of contemporary art.
Edward Sullivan, Tomás Sánchez (Milan: Skira editore, 2003), 11.
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