Alejandro Gómez

March, 07 - April, 14, 2017

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World Nº3
Oil on canvas. 140 x 140 cm. 2017
World Nº3 Expectation Nº2 Frontier Untitled Composition in red Nº9 Blue expanse Nº4 Concretion in black and white Concretion Nº25 Contrast Nº3 Untitled

This exhibition consists of a series of ten recent works, rendered in oils on medium- and largescale canvases. Alejandro Gómez (born in 1986 in Villa Clara, Cuba) studied painting at the Universidad de Las Artes ISA, and has presented six solo shows in Cuba and Beirut, Lebanon, as well as participating in numerous group exhibitions, winning a variety of prizes and honors. His works are held in private collections in Cuba, the United States, Mexico, Puerto Rico, the Dominican Republic, Peru, Brazil, England, Spain, France, Italy, Denmark, Switzerland, Belgium, and Lebanon. Magaly Espinosa has written of Alejandro Gómez’s work: “Taking up the crowd as the main theme in his pictorial compositions has allowed the artist Alejandro Gómez to combine elements of varied provenance, including photographic and pictorial techniques, philosophical and sociological concepts, public spaces and the meanings that may emerge from people’s comings and goings in these spaces. In his work, we find references to photography, in the form of techniques such as close-ups and panoramic views, framing and staging; while his pictorial inclinations include a dissimilar use of color, pastel shades—in some cases, chiaroscuro; in others, more expressionistic reproductions in those figures situated in the foreground, becoming more abstract in those located further in the background. Of his own work, the artist says: “As a kind of social portrait, I attempt to capture the most dissimilar individuals, the common man portrayed in his ordinary routine and recontextualized in a crowd. The idea is to analyze—through a sort of street anthropology—the phenomenon of the crowd on a smaller scale. These images are taken at random, individually, and I later put them together, organize them, composing a larger collage that serves as a sketch for the final canvas. Whimsical and affected scenes are on display in the compositions, the high angles and bird’s-eye angles offer us the possibility of removing ourselves for a moment, extracting ourselves and observing from a distance. The real and the unreal, the concrete and the abstract, are confusing dualities. An abstraction does not cease, just because it is abstract, to be a real object, and a realist painting is—when seen from close up—a doctored blend of matter, brushstrokes, and texture that liken it to a plastic abstraction. At a distance, these concretions achieve—on a superficial level of observation—an abstract image, causing in the spectator an active engagement with the work, as she gradually discovers what and who comprises the multitude, like a parable of the crowd/individual relationship and the absorption to which the individual is subjected when he converges in a crowd. The mass is not presented as something anonymous and impersonal, but as a composite, abounding with details, aspiring to a few minutes of contemplation. The diversity of persons then becomes a focal point: observing each individual, slowing the gaze.” The exhibition Plural by Alejandro Gómez may be visited at Galería ENLACE ARTE CONTEMPORÁNEO through April 14, 2017, Monday to Saturday from 11 a.m. to 8 p.m. Free and open to the public.