Aleix Albareda - TOMORROW IN A SMALL CHILD'S HAND

Unique piece, with certificate of authenticity.

DARKNES·S - Acrylics on canvas, 112 × 112 cm
In this series, the tree becomes a motif for contemplation and, at the same time, an almost architectural presence. The four paintings explore different configurations of the landscape through a reduced palette of whites, grays and blacks, where the painting matter takes on an essential protagonism.
The choice of the square format of 112 × 112 cm creates a particular relationship between the tree figure and the space. The tree ceases to function solely as a natural element to become an autonomous, monumental body that occupies and tensions the pictorial surface. Its horizontal branches, its masses of foliage and its trunks articulate space as if they were structures drawn in the landscape.
The use of acrylic in black and white intensifies this reading. The absence of color does not imply a reduction, but rather a concentration of the gaze: light, shadow, texture and gesture acquire greater importance. The quick, fragmented brushstrokes build the foliage without describing it literally. The tree thus appears between representation and abstraction, recognizable yet subjected to a process of synthesis and transformation.
There is also a marked gestural dimension. The brush marks, the transparencies, the accumulations of matter and the eroded zones of the surface leave visible the process of constructing the image. The landscape seems less observed than reconstructed through memory, gesture and the physical experience of painting.
In some works, the horizontality of the canopies contrasts with the verticality of the trunks; in others, the tree concentrates into a compact mass that seems to emerge directly from the earth. This variation allows each piece to function independently, but, viewed together, to form a visual narrative about permanence, time and resilience.
The represented trees convey a sense of stillness, although their surfaces are full of movement. In them coexist fragility and strength, silence and energy. The landscape thus becomes an emotional space: more than representing a specific place, the works seem to speak of our relationship with nature and the need to pause our gaze before that which remains.
The series finally proposes a reflection on presence and trace. The tree remains rooted while everything else — light, climate, the viewer’s perception and the painting gesture itself — seems to be in transformation. That tension between the permanent and the ephemeral constitutes one of the main poetic values of these paintings.
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