Inalcanzable Drawing

I was born in Las Palmas, Gran Canaria, 1988. Ever since I was a child, I have had a close relationship with art. My interest in the arts is in my genes, my father is a muralist, my grandfather a sculptor and painter, and my grandmother was a portrait painter. As a result, I have always been immersed in art and I’ve had a natural relationship with creativity that has been present throughout my life. Having the artistic background that I had in the family, I was advised to study engineering, a career that would offer the stability that a life in the arts may have been difficult to achieve and sustain. I trained as an industrial designer at the University of Las Palmas, Gran Canaria and for a few years I received training in both painting and sculpture at the prestigious Luján Pérez school, all other techniques are self-taught. Until the age of 25, I lived between Gran Canaria and Tenerife. At 25 I decided to move to Madrid for professional reasons and it was there that I founded my first design studio. However, I didn't connect with the city and moved my studio to Valencia. Throughout this period of my life, I continued painting in my free time, always considering it as a hobby. However, in 2017 I closed the design studio and started my adventure as a professional painter. From that moment, my growth as an artist has been relatively fast, all thanks to the acceptance that my work has received from the public. "Canarian artist, defines himself by his great delicacy, precision and skill when painting. Adán López Alemán surprises us in each of his works where he bares his soul and intermingles his remarkable realistic style with an expressionist base, from that, his imprint of impulsive youth in a halo of spiritual connection that breaks naturalness and freshness. He is able to turn all his works into unique pieces, where every corner hides a secret, an adventure, a hope, a sense and commitment to do, to create. His works go beyond the simple canvas he approaches, painted either with acrylic, watercolour, oil or pastel. In this case, he uses ink, to transmit to the spectator temperance with a mastery of forcefulness. The mixture between the visible and the invisible transforms his work into a dance of beauty, between what is seen at first sight, his primary pretensions, and what each observer finally intuits.