Manuel Solano, finding inspiration in tragedy, has decided to look at the world from his memory. And when exhibiting his work publicly, it becomes a sensitive medium capable of attaining meaning in each of the spectators without having to recognize the importance of the visual and textual referentiality that the artist uses in his works. In such a way that by not apprehending the world from visuality, but from memory, Manuel strips painting of its technical character and questions its tradition of vision prosthesis to place it as poetic prosthesis; questioning the politics of the image to preponderate the bodily and mnemonic act over painting as its only true vice and thus take a stand before the chaos of the world and get annoyed at it at the same time.

Manuel, like the author of the novel Inherent Vice, Thomas Pynchon, create their work from the provocation of exposing themselves and at the same time ignoring their true identity as a creative strategy in a world of domesticated images and characters.