En los últimos dos años he trabajado en torno a las relaciones que voy encontrando, o que establezco, entre mi realidad cotidiana y la ficción fílmica. Algunos trabajos proponen una mirada distinta hacia el lenguaje del cine y sugieren nuevas maneras de entender la conexión que como espectadores emocionalmente activos mantenemos con la ficción. Otros se presentan como enunciados pictóricos casi mudos, prestando especial atención a los vínculos que enlazan a la historia de la pintura con el dispositivo cinematográfico desde el nacimiento de este medio de imagen móvil.
Lo fílmico y lo real se absorben mutuamente y, en un proceso de digestión, dan lugar a una nueva realidad intermedia, edificada sobre el complejo y siempre subjetivo tejido constituido por la sugestión, el deseo y la memoria.
From very early on Hugo Alonso has been interested in how to approach the pictorical image, sounding out its possibilities through the digital path. He has used sound and moving image, particularly the sensations close to horror movies and science fiction in order to act with the coldness of a surgeon in order to generate images that have a dialogue among mediums from a pictorical base that is independent of the support and of the tool or discipline called up to work at each moment. He thus generates an intermediate reality, between everyday reality and film reality, between the lived and that which we can still recall.
In his latest works he presents a series of delicate acrylic drawings on paper that might become paradigmatic; veiled images that come from movies and owe their names to female leads from suspense films, in this case, Laura, Sally, Regan, Norma, Kristen and Laurie. They formally fit into the interest that many contemporary artists have for the vague, and which journey towards the destruction of the image, blurring our view as spectators through a series of fuzzy framings. Memory and its difficulty of apprehension justify this reduction of the range, and time seems to remain suspended, as if we hushed the scene and stopped the development of the action. It is a matter of working on the uncertain, on the disturbing. As if the strangeness functioned as a misty curtain capable of erasing the outlines in order to turn the image into a whisper.
Hugo Alonso works on the decoding of images using fragments —also of sound— from classic horror movies in order to in a certain manner expand the painting into a resonance. Like in many contemporary artists, in Hugo Alonso the canvas is not empty to start out with, and painting is not used to produce the image, but rather it is the image that is used to produce the painting. In this sense we could extrapolate the words of Gerhard Richter about photography in order to set the relationship that Hugo Alonso has in relation to the cinema: “when I paint from a photograph conscious thought is suppressed. I don’t know what I am doing. My work is closer to the informal than to any type of realism. Photography has an abstraction of its own that is not easy to penetrate”. This semantic ambiguity projects a problem for the gaze, between the desire to see and the difficulty of discerning what is told to us and the outcome.
It is a matter of suspending the meaning, of emphasising the distances, that which makes him close to artists like Vija Celmins. Hugo Alonso lets us be seduced by the uncertain, in his own words, by a “hole behind a painting that one can approach so as to peer at that which seems far off to us in a strange manner, with a disturbing familiarity”. Hugo Alonso does not just work on deconstructing the processes of accessing painting but also the logic of the cinema and its elements —setting, plan, set dressing— which he reorganises in order to show new links to fiction, to a certain extent calling up the phantasmagorical. In Javier Panera’s words, what he does is “to redefine the filmic condition in space, because Alonso’s paintings —no matter how technically impeccable they are— are not simply an exercise of style, but rather depend on almost structural focus of the film that is re-used, retaken, reproduced and re- and de-constructed in the space as visual architecture, although it is not, as was the case of structural/modernist cinema, a question of formally analysing the components. In this case the remakes follow tautological procedures that conceptual art has systematised, and function as a system of notation”.
-BARRO, David, 2014. Antes de irse. 40 ideas sobre la pintura, pag 34. Arte Contemporáneo y energía A.I.E/Dardo, 2013. ISBN: 978-84-616-6458-0/978-84-92772-47-6.
Regan, 2011 / acrílico sobre papel / 100 x 70 cm.
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