“…the works that I develop, I limit the time to a finite amount of days, expressed in layers of paint.” - the artist
When a work of art is finished, when we stop working on it, when can we say it can not improve ...? These are questions that we have clearly asked ourselves all that we have ever faced to work on a canvas, in a sculpture, action or installation, but it is also a question that makes us the spectator, the collector, the taster of art.
The answer seems to me that there is still to answer, however with the project that I present and from the works that I develop, I limit the time to a finite amount of days, expressed in layers of paint.
Working time, although it does not seem determinant for the result of a pictorial work, if it seems interesting to me to show, numerically and objectively share that such painting has 30 days of work it seems revealing, to communicate that such a picture has been developed since 30 layers of paint is undoubtedly at least disturbing .
30 layers plus 1 ... This is what I do in my current works, 30 layers of paintings represent the rigor of the work, the constancy of the routine (captured and captured photographically) the work of the day to day, the execution time, the waiting time between layers, a process almost and without detracting ... mathematical. Finally the last layer, the icing on the cake without a doubt, a loose layer, fast and strong, simple strokes and composition, but with all the soul, intuition and stomach that can be put after a long, long wait.
The result appears after detracting the threads trapped under the time of work, under the layers of routine, under the pictorial polychromy. As a verbal testimony, a text of the moment, words that appear without any planning, simply ideas often disconnected that speak precisely of the final moment, of the moment of finishing.
About the artist:
Alejandro Robles is an architect, painter, sculptor and docent. He studied architecture at the Central University, from where he draws on the loose and quick sketch that gives the sketch, here he finds the strength of the line that accompanies him to these days. His artistic studies are continued at the Catholic University of Chile, complementing painting, color and sculpture, then deepened in the Massana School of Barcelona in 2002, with a marked emphasis on the drawing of the human figure, later realizes an artistic residency in the B & B Art Contemporary art museum in Sardinia with curator Bianca Petretto in 2017, this time generates the exhibition "LABERINTI" in the Arborense Diocesan Museum, composed of paintings, sculptures, drawings and installations, resulting from his visit to the granite quarries of the aforementioned island.
In parallel, he has participated in various artistic workshops counting with teachers such as the sculptor Ricardo Irarrázabal and the artist Carmen Silva with whom he shared a beautiful friendship, great conversations and some exhibitions. With respect to the illustrations, Alejandro collaborates with Le Mond Diplomatique since 2012 with various works, highlighting the cover of number 132. Separate paragraph deserves his career as a docentian, which begins at the Diego Portales University and continues at the University of Development where he currently practices, is the contact with the university world what nourishes him with new ideas, fresh visions that are reflected in his multiple projects, from the plastic, conceptual, architectural, human, social or even urban.
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