In Camping Marbella, León appropriates degraded images, since these documents are in themselves the result of an appropriation or degradation prior to that of the artist. In fact, he goes to great lengths to pictorially reproduce poor workmanship that reveals the copied idiosyncrasy of his visual references. These copies, which, we say are referential for the artist, were for many of us the backdrop of our childhood scenes and scenarios, since they were -and still are- in amusement rides such as the passage of terror in Tivoli, the famous center of funfair attractions that is torn between degradation and total disintegration. We are talking about paintings that could be said to be in bad taste, where hypersexualized women are often portrayed, sometimes bloodied or directly mutilated. However, through the recovery of these scenes León does not entrust himself with merely questioning their relevance or political correctness, but rather seems to respond more to the capricious reasonings behind his maxim for degradation.

Javier Artero