Pradillo was once described as an “unrepentant savage” because of his ability to interpret some occidental’s art matters from a peculiar ironic perspective, that, somehow, were in parallel to the fighting principles of the Dadaism (Un éxtasis para G.L. Bernini, 1980; Almuerzo sobre la hierba, 1983; Marat asesinado, 1985).
Very soon, the stripped of context everyday objects and the debris of the own artist, become the ingredients to create intimate treasures that will be presented as venerable relics in cardboard cases (Relicario; and Reliquias II, 1985), or to build boxes that, despite their hermetic shape, surpass the straight jacketing of the most primitive oneiric surrealism (Gran Hotel or Caja de Música, 1984).