From the interview with Victor Cobo by Brad Feuerhelm for ASX:
I came across Victor’s work through Instagram. Somehow it popped into my stream of looking and I decided to clamber into his dream, his vision and his output. Like a dizzy moth, I am attracted to the singular glowing and pulsing bulb to perilous ends. The images themselves are not dangerous, nor are [their] representations, but they exist in a margin of entropic behaviour that feels very familiar. The aesthetic value of his images also conjure up in my mind a fantasy world not much removed from some of Guillermo Del Torro’s film, in particular “The Devil’s Backbone”, where Victor’s background and lineage pervade a sense of historical anxiety that perhaps manifests themselves within his images. There is a haunting about. It is loose, but it does indeed feel as though the ballroom is buzzing with syrupy sounds from a time past where chair legs drag across wooden floors, stop and sways before toppling and the long anticipated sound of taut rope is heard pulling its weight against a wood rafter beam and it fills my ears. This is where I exist within Cobo’s work.