Aleix Albareda - IT'S TIME TO TRUST IN CASTELLAR DLR





€1 |
|---|
Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 140963 reviews
Rated Excellent on Trustpilot.
Original 2023 acrylic painting on canvas, titled IT'S TIME TO TRUST IN CASTELLAR DLR, 112 x 112 cm, landscape, signed by hand, from Spain, sold directly by the artist, with certificate of authenticity.
Description from the seller
Unique piece, with certificate of authenticity.
REDARKNES·S - Acrylics on canvas, 112 × 112 cm
These paintings build a territory between the recognizable and the imagined. From an essential palette of blacks, grays and whites, the painted matter becomes landscape, memory and imprint. The surfaces appear fragmented, eroded and reconstructed through stains, gestures, transparencies and geometric weaves that coexist with a freer, more organic gesturality.
The image seems to emerge from an accumulation of matter. The dark center concentrates the gaze and functions as a kind of expanding nucleus, while the brushstrokes surrounding it suggest movement, vegetation, rock or a nature subjected to continual transformation. Light does not come from a single point: it appears between the layers, in small voids and white fragments that make the composition vibrate.
A somewhat more architectural structure is introduced. Grids, modules and textured fields organize the apparent chaos and establish a tension between order and overflow. The landscape ceases to be a literal representation to become an experience: something that is traversed, remembered and ultimately reconstructed through fragments.
In these works, the territory is not described; it is experienced. The painting functions as an emotional map in which nature, memory and human intervention coexist. The geometric shapes seem to be remnants of a rational structure that the painting matter itself strives to undo. From this confrontation emerges a powerful, almost archaeological image, where each layer appears to contain the trace of a previous one.
The square format of 112 × 112 cm reinforces this frontal, enveloping experience: the gaze does not easily find an entry or exit point, but is captivated by a surface that expands in all directions.
These are works that speak, ultimately, of concrete places without being limited to them. Painting thus becomes a space of sedimentation: a place where lived, observed and imagined ends up forming the same substance.
aleixalbareda.com
Unique piece, with certificate of authenticity.
REDARKNES·S - Acrylics on canvas, 112 × 112 cm
These paintings build a territory between the recognizable and the imagined. From an essential palette of blacks, grays and whites, the painted matter becomes landscape, memory and imprint. The surfaces appear fragmented, eroded and reconstructed through stains, gestures, transparencies and geometric weaves that coexist with a freer, more organic gesturality.
The image seems to emerge from an accumulation of matter. The dark center concentrates the gaze and functions as a kind of expanding nucleus, while the brushstrokes surrounding it suggest movement, vegetation, rock or a nature subjected to continual transformation. Light does not come from a single point: it appears between the layers, in small voids and white fragments that make the composition vibrate.
A somewhat more architectural structure is introduced. Grids, modules and textured fields organize the apparent chaos and establish a tension between order and overflow. The landscape ceases to be a literal representation to become an experience: something that is traversed, remembered and ultimately reconstructed through fragments.
In these works, the territory is not described; it is experienced. The painting functions as an emotional map in which nature, memory and human intervention coexist. The geometric shapes seem to be remnants of a rational structure that the painting matter itself strives to undo. From this confrontation emerges a powerful, almost archaeological image, where each layer appears to contain the trace of a previous one.
The square format of 112 × 112 cm reinforces this frontal, enveloping experience: the gaze does not easily find an entry or exit point, but is captivated by a surface that expands in all directions.
These are works that speak, ultimately, of concrete places without being limited to them. Painting thus becomes a space of sedimentation: a place where lived, observed and imagined ends up forming the same substance.
aleixalbareda.com

