Mosquito símbolo [Mosquito Symbol] (2023)
Oil on linen
219 x 370 cm
BilbaoArte Collection
Registration No.: 2023.564.1
Mosquito símbolo is a large white oil painting on fabric, where the artist seeks to constrain the properties of the painting and its experience with space. He seeks to delve further into his own understanding of the construction of painting, which is the medium he uses to generate thought and capture its inertia. Banishing the ‘normal’ from the habitat of the painting, from the plane per se, and offering a shift in focus from that remoteness to familiarity. Proposing changes in direction from its ideal projection, on a canvas, to its physical composition.
The artist draws on that constantly shifting objectivities and subjectivities to reflect on the aesthetic traits and modus operandi, from gestural communication and body language processes, scales that in reality measure the difference in body position (his at variance with the subject of the painting); that advances another type of knowledge between perception and what being in the space is.
The form technically highlights the production processes and at the same time restrains it, lengthening the perception time and thus avoiding its immediate consumption. The play of the painting becomes sculpture; it sets a puzzle that seeks to put elements on a continuous plane that are between the everyday object and the ideal abstraction, between the image and its physical medium, between the convention of painting and its preparation processes, between the window space, its framework and its habitat.
Alejandro Gonzalez Osés (Santander, 1990) graduated in Fine Arts from the University of Castilla la Mancha (2016), and has a Master’s Degree in Painting from the University of the Basque Country (2021). He combines his artistic research with other disciplines, such as graphic art and advertising murals.
His artistic methodology is based on a series of constraints that question or restrict his action, mediating between his impetus and the subject matter in question. He thus starts from the essence and thought of the drawing, in order to try to approach or know his immediately environment, by letting it be, reading its structure and highlighting its form or proposing another; in other words, playing with its tangible logic and proposing a leeway, between the specific and the abstract.