ALAIN URRUTIA

WORKS - TEXTS - BIO - CONTACT


 

 

I am interested in the slow gaze of reality that occurs when I am painting.

 

I work in an intuitive way. The work I have carried out to date is closely related to the idea that in photography, the reality becomes an image and it is subsequently translated into another reality when painted. In my view, the goal is not to reproduce a mechanical/digital photograph into painting, but to build a pictorial image. The paintings are striking in their ‘emotional impenetrability’, they posses and produce a kind of silence, a demonstrable lack of legibility, even a difficulty that outstrips their subject matter per se. With this notion in mind I slow the process of perception in order to allow paths towards new interpretations from pre-existing images, urging the viewer to question their assumptions of what they are looking at.

 

 

 

 

- TIERRA Y CEMENTO (sentarse y esperar) (Diego Delas) (Eng. / Esp.)  

 

- VIAJA Y NO LO ESCRIBAS (Carolina Jiménez) (Eng. / Esp.

 

20 MINUTOS DE PENSAMIENTO ABSTRACTO (Press Release

 

- BRISURE DE SYMÉTRIE (Bernardo Sopelana) (Fr. / Esp.) 

 

- HOLD ME (Taylor Le Melle) (Eng. / Esp.) 

 

- SOCIEDADE ANÔNIMA  (Marina Coelho) (Eng. / Port. / Esp.)

 

- DOUBLE CONTENTION  (Alberto Sánchez Balmisa) (Eng. / Esp. / Eusk.)

 

- LA PINTURA COMO MENSAJE CIFRADO (David Barro) (Eng. / Esp.)

 

- DISSIDENT PAINTING (Aimar Arriola) (Eng. / Esp. / Eusk.)

 

- THE LOST PARADISE OF PAINTING (David Barro) (Eng. / Esp. / Eusk.)

 

- BEFORE EVERYTHING (Tania Pardo) (Eng. / Esp. / Eusk.)

 

- EL QUINTO EN DISCORDIA (Angel Calvo Ulloa) (Esp. / Eusk.)