Aleix Albareda - THE GREEN SOFT BEAMS





Catawiki Buyer Protection
Your payment’s safe with us until you receive your object.View details
Trustpilot 4.4 | 141255 reviews
Rated Excellent on Trustpilot.
The Green Soft Beams is a 2025 original acrylic painting of a contemporary landscape from Spain, square 112 × 112 cm, hand-signed, sold directly from the artist, in excellent condition and supplied with a certificate of authenticity.
Description from the seller
Unique piece with certificate of authenticity.
This series of paintings offers a particular interpretation of the contemporary landscape, in which nature, memory, and abstraction coexist within a single pictorial surface. Trees and plant forms constitute the starting point, but they are progressively transformed through a structure of grids, vertical lines, fragmentation, and overlayers that challenge the immediate perception of the image.
The grid takes on an essential role as a constructive element and, at the same time, as a rupture. It divides the landscape, partially hides it, and forces the viewer to reconstruct it visually. Faced with this geometric structure, the painting maintains a strong gestural dimension: blotches, dragging, transparencies, drips, and accumulations of matter provide rhythm, depth, and tension.
Color also plays an expressive role. The contrasts between blacks and greens, reds, oranges, yellows, pinks, and blues create different moods without abandoning the conceptual unity of the series. Nature thus appears not as a literal representation, but as an emotional and fragmented experience.
There is in these works a constant tension between order and chaos, figuration and abstraction, structure and gesture. The recognizable landscape remains present, but subjected to a process of decomposition and reconstruction that makes it more ambiguous and personal.
The square format of 112 × 112 cm gives the compositions a bold and enveloping presence. They are works conceived to be contemplated not only as images of a landscape, but as surfaces where the landscape is transformed into matter, memory, and pictorial language.
Collectively, the series offers a contemporary perspective on nature: a landscape that does not aim to reproduce what we see, but to express what remains in our gaze after we have looked at it.
Unique piece with certificate of authenticity.
This series of paintings offers a particular interpretation of the contemporary landscape, in which nature, memory, and abstraction coexist within a single pictorial surface. Trees and plant forms constitute the starting point, but they are progressively transformed through a structure of grids, vertical lines, fragmentation, and overlayers that challenge the immediate perception of the image.
The grid takes on an essential role as a constructive element and, at the same time, as a rupture. It divides the landscape, partially hides it, and forces the viewer to reconstruct it visually. Faced with this geometric structure, the painting maintains a strong gestural dimension: blotches, dragging, transparencies, drips, and accumulations of matter provide rhythm, depth, and tension.
Color also plays an expressive role. The contrasts between blacks and greens, reds, oranges, yellows, pinks, and blues create different moods without abandoning the conceptual unity of the series. Nature thus appears not as a literal representation, but as an emotional and fragmented experience.
There is in these works a constant tension between order and chaos, figuration and abstraction, structure and gesture. The recognizable landscape remains present, but subjected to a process of decomposition and reconstruction that makes it more ambiguous and personal.
The square format of 112 × 112 cm gives the compositions a bold and enveloping presence. They are works conceived to be contemplated not only as images of a landscape, but as surfaces where the landscape is transformed into matter, memory, and pictorial language.
Collectively, the series offers a contemporary perspective on nature: a landscape that does not aim to reproduce what we see, but to express what remains in our gaze after we have looked at it.

