This section is dedicated in presenting the authors related to the Post-conceptual Figuration discourse through a representative selection of their work, accompanied by an introduction to conceptual and aesthetic keys, accessible via an alphabetical search. This section is under development and new authors + will soon be incorporated.
He was part of the core of the New Madrileña Figuration. Linked to the Galería Buades.
Alcolea plans his paintings as a thoughtful and enjoyable event, aiming to seduce the retina and with which the intellectual can enjoy through the creation of paintings that are not depleted at a glance. Through in-depth research on the physicality of the pictorial medium, he manages to create refreshing strategies to unravel the folds and creases of things and so paint what is not. A personal proposal called pressed painting, which calls for the reunification of pictorial space integrating random informalism and developing abstract spaces. Alcolea manages to subvert the historical retinal submission of painting, turning the space of his paintings into a compact and paradoxical surface by compressing the conventionally orthogonal vacuum of perspective.
His work takes a hilarious look, full of deprived sarcasm and irony, thanks largely to a sharp vision and a keen interest in the conceptual and formal paradoxes. His interest in the ideas of thinkers as diverse as Jonh Cage, Marcel Duchamp, Gilles Deleuze, Karl Marx or Marcel Proust, transcends his work, despite his advocacy of a mute painting, do not say anything. This character, typical of a visual essay that his work acquired, is founded on the development of a personal symbolism that settles to the multiple layers of the painting.
An artist of self-controlled skill between the analytical sense of constructivism and the automatic surreal freedom, he achieves the staging of a ruthless pictorial tension in the synthetic images, slippery and sharp images that absorb the gaze of the viewer paralyzing them into an endless flirtation.
Alcolea, while painting simultaneously things and what is between them causes an invigorating confusion between essential and accessory questioning the relationship between art and reality in a schizophrenic painting. He thinks with color, in its entirety and ranges, embodying the vacuum in reflections and reverberations that sew very effectively some figures with others. He conceives his work as devices or artifacts that shoot with a glance in a continuous motion creating a closed circuit and reflection whose best visual metaphor could be the Mobius strip…
Among the pictorial references the following painters are highlighted: Paul Cezanne, Félix Valloton, David Hockney, R. B. Kitaj, Alex Katz or Barnett Newman.
Consulted bibliography: González García, Ángel, “Hacer equilibrios para caerse”, in the exhibition catalogue Carlos Alcolea, Madrid, Ministerio de Educación y Cultura, 1998. Calvo Serraller, Francisco, “Carlos Alcolea, corazón solitario”, Madrid, El País, 18 febrero 1984. Rivas, Francisco, “Carlos Alcolea”, Madrid, Diario 16, 30 de enero 1980.
CARLOS ALCOLEA > SELECTED Works
Observatory > Artist