'Red Light' the young artist Fernando Gimeno explores love in an age where real hugs are often replaced by smileys.

The world of techno-consumerism is troubled by love and it has no choice but to change the ways we fall in love, the way we live and the way we split up. A related phenomenon is the transformation, courtesy of Facebook, of the verb 'to like' or the meaning of drawing a heart. Social media has been a great platform for self expression. The effects are manifested in new ways, with the 'analog' being more intense at times and less at others. A real hug, a kiss, are replaced by smiley. Some people have no consideration for other people's feelings, its seems obvious that is easier to pretend moods through social networks. Maybe that could be a risk of being unhealty emotionally or are we becoming more emotionally intelligent through this expression?

Does she love me as much as yesterday?-wondered the boy in front of his computer-Is she still spending time thinking of me? She hasn't liked any post on my wall for two days...

Not being 'liked' repressents abandonment. Fernando Gimeno is a young Spanish artist working in the field of photography inspired by these topics. He has recently developed a project for the cultural center La Llotgeta in Valencia, Spain, curated by Nilo Casares and entitled Red Light | 11 June - 29 July). His exhibition, which combines photography and collage, creates a very particular domestic enviroment. His early carreer as a runway model has influenced the aesthetics of his artwork, was well as his taste for comining colors and textures. However, the most interesting side of this young talent is the ability to tell a story from digitalized life, marked by the technological transformation of social relations, but through analogical delicated tools.

Red Light starts with the relationship of the artist with his last girlfriend, however behind his anecdotes there is the germ of a first generation of digital natives. The mobile phone, emails, Facebook, Twitter, those were the busiest places with her, from beginning to end. At the same time he was writing and drawing in a notebook everything he thought or felt about it, including pictures of her, also of the bed with white sheets they both sometimes shared. The bed is a reminiscent of Tracey Emin's My Bed 1998, bought by Charles County Hall, London. Emin's bed is definetly portrayed after a heartbreak. He lies inside, fully coveredby the sheet, sad, causing the viewer a strange feeling, upsetting anyone who contemplated the work.

The list of songs they listened together, crossed out, with adhesive on top, framed as a mockery to Spotify or iTunes, is one of the representative works by Gimeno. An intense red light crosses most parts of the photos referring to sex. Some collages that include a photo of his beautiful mother help to create an intimate aura and stimulate reflection on the female figure.

His girlfriend was unfaithful and he suffered. But he refused to externalize in public areas, he turned to doing everything on paper and walked away, from the social media for a while. Now he turns the museum into his own 'wall' to post everything about it as an excercise in overcoming an extreme version of deception. According to the book A Lover's Discourse. Fragments |1978 by Roland Barthes, trying to write love is to confront the muck of language, that region of hysteria where language is both too much and too litle...but it seems the digital narrative does the trick.

- Marisol Salanova for TURN ON ART, Ivorypress.