Aleix Albareda - LET NAVÈS BE SLOW






Over 10 years' experience in art trade and previously founded his own gallery.
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Original acrylic painting on canvas (112 x 112 cm, square) with the title LET NAVÈS BE SLOW, created in 2023 by a Spanish contemporary artist, post-2020 period, landscape depiction, hand-signed, in excellent condition, sold directly from the artist, with certificate of authenticity.
Description from the seller
One-of-a-kind 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 trace. The surfaces appear fragmented, eroded and rebuilt through stains, gestures, transparencies and geometric weaves that coexist with a more free and 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 subject to continuous transformation. The light does not come from a single point: it appears between the layers, in small gaps and white fragments that make the composition vibrate.
An architectural, slightly more structured element is introduced. Grids, modules and texture fields organize the apparent chaos and establish a tension between order and overflow. The landscape stops being a literal representation to become an experience: something that is traversed, remembered and finally rebuilt through fragments.
In these works, the territory is not described; it is experienced. The painting functions as an emotional map where nature, memory and human intervention coexist. The geometric forms seem like remnants of a rational structure that the painting itself strives to undo. From this confrontation emerges a powerful, almost archaeological image, where each layer seems to contain the trace of another earlier one.
The square format of 112 × 112 cm reinforces this frontal and immersive experience: the viewer does not easily find an entry or exit point, but is trapped in 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 end up forming a single matter.
ales aliabareda.com
One-of-a-kind 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 trace. The surfaces appear fragmented, eroded and rebuilt through stains, gestures, transparencies and geometric weaves that coexist with a more free and 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 subject to continuous transformation. The light does not come from a single point: it appears between the layers, in small gaps and white fragments that make the composition vibrate.
An architectural, slightly more structured element is introduced. Grids, modules and texture fields organize the apparent chaos and establish a tension between order and overflow. The landscape stops being a literal representation to become an experience: something that is traversed, remembered and finally rebuilt through fragments.
In these works, the territory is not described; it is experienced. The painting functions as an emotional map where nature, memory and human intervention coexist. The geometric forms seem like remnants of a rational structure that the painting itself strives to undo. From this confrontation emerges a powerful, almost archaeological image, where each layer seems to contain the trace of another earlier one.
The square format of 112 × 112 cm reinforces this frontal and immersive experience: the viewer does not easily find an entry or exit point, but is trapped in 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 end up forming a single matter.
ales aliabareda.com
