About the work
In the last few years I've been working on a project in which I explore the relationships between film reality and our everyday reality. Also, the possible analogies between the history of painting and cinema.
Film fiction helps me to understand the environment in which I live and to know myself. Cinema is my source of visual and conceptual resources. I'm interested in the permission it has, due to its fictional nature, to address unimaginable themes within the social codes that keep a reality like ours regulated.
Recurring motifs in the history of painting such as the landscape, the house, the room or the figure usually occupy a major role in my work, as if it were a film shot that goes from the general to the singular.
Each painting, apparently normal, contains some enigma, some unstable element, one or several visual cracks that place an image close to the conventional in a strange terrain, supposedly familiar but really unknown.
“Strange times, as always. There remains the hope that for certain people this moment of confinement, reflection, loneliness and added uncertainty will serve to change something. Perhaps in their daily dealings with other people or in the way they look at people when they walk down the street on any given Tuesday.
The rest is intuitive at best. You can already see it. Perhaps the greatest achievement is that the lives of people do not lose even more value than they had before the pandemic.”
acrylic painting on paper
35 x 35 cms
Hugo Alonso (Soria, 1981)
Hugo Alonso (1981), trained at the Faculty of Fine Arts in Salamanca and Rome, works on exhibition projects of a heterogeneous nature. Originally pictorial, his work has gradually expanded to other fields such as video, sound and audiovisual installations.
Among his solo exhibitions are UNDONE (DA2, Salamanca, 2020), November (Galería Miquel Alzueta, Barcelona, 2017), RAW (Galerie Youn, Montreal, 2017), Blonde (Pigment Gallery, Barcelona, 2016), Pendulum (CEART, Fuenlabrada, 2016), Believers (Sala de la Diputación de Salamanca La Salina, 2015), How to resuscitate a dead fly (Medina Film Fest, 2013), To my father and to the memory of my mother (Adora Calvo Gallery, Salamanca, 2011), Frederick Treves and the Chamber of Surgeons (Salvador Díaz Gallery, Madrid, 2010) or Paintingdrome (DA2, Salamanca, 2007).
Alonso’s works form part of significant public and private collections such as MUSAC (Museo de Arte Contemporáneo de Castilla y León), DA2 (Domus Artium 2002), Pilar Citoler Collection, Rucandio Collection, Bassat Collection, CAB (Centro de Arte Contemporáneo de Burgos), BMW Foundation, Salamanca Provincial Council, CEART (Centro de Arte Tomás y Valiente), Gaceta Foundation or Obra Social Caja España.
He was invited by The New York Times Magazine to create a specific artwork for the October 2017 cover.