The City of Fury Painting

Work exhibited in the Hybris Citadina exhibition at the Armando Reveron Museum - "old Sofia Imber" Venezuela - Artwork inspired in part by Gustavo Cerati's song - City of Fury (Soda Stereo) Alexander Martínez is an artist sensitive to reality who surrounds him, he is a stroller who, immersed in his context, he tries to build, which allows him to reflect plastically about the problems that modern life and everyday life pose you. His work is the result of a constant redefined in the urban space, where the forms erected from the vitality of an automatic drawing, they relate part of the thousands of stories that build the day to day in the city. Their own representation of reality intervenes from and where you face the complexities of relationships that they are born from the everyday to question life in the metropolis,to overflow the limits of existence. Your search It starts looking for places where it builds a plot existential relationships, from which he achieves generalize your reflection on the cities of the world, its realities and difficulties. You will see me fly Around the city of wrath Where nobody knows about me And I am a part of everybody. The City of Fury | Gustavo Cerati copy and paste to listen to the song https://www.youtube.com/watch?v=HKG8gAMgIAM Soda Stereo - En la ciudad de la furia (Unplugged) In my work they are represented by figures that come in my dreams or street scenes that remain in mind, I also add to my work events of which I am a witness in my daily life as a kind of urban chronicler, adopting the experience I have as an illustrator and graphic designer for the written press in the country, careers that I exercised before dedicating myself fully to my art. I did this work or was inspired to recreate a reflection in the form of universal criticism of the power assumed by military forces against society. My painting is calligraphic inspired by artists such as Pablo Picasso, Dubufet and the cartoonist, illustrator and musician Robert Crumb. A. E. Martinez Alexander Martinez has been consistent with the spirit of synthesis that has animated avant-garde painting since the beginning of cubism. Thus, in each painting the viewer can appreciate the freedom with which he was able to break away from the anecdote, the human figure, volume and many other entelechies of representation, until it is simplified, weightless,transformed into a great surface that works as a virtual labyrinth or a chromatic weaving that evolves in the two dimensions of the canvas, vertically and horizontally, which meaning lies in its calligraphic presence. A poem transcribed in generic characters, from one side to the other, identifies the theme of the city. The labyrinthine way to solve the theme is related with the mythology that he finds in the city, a concrete jungle in which the individual, as a modern Ulysses, is either in dangerof going astray or is already lost. This idea is solved in the artistic work that ends the cycle of Martinez’s figurativeor symbolic painting.» | J. Calzadilla Art critic «Alexander Martinez’s work presents diverse references. First of all there is the conception of the artwork as ‘embroidery’ that is being ‘threaded’ as it tells stories that come from situations that the artist perceives as he walks through the city. The scenes are synthetized through graphic expressions: Caracas is identified with the lion. Urban violence is expressed through symbols: target shooting,a bullet or thorns, among others. The images present ambivalent readings as when a figure in the foreground represents both a dead body -as in police reportsand graffiti writing on any street. These are winding forms that, embossed, display the ‘many skins’ that the city shows.The calligraphic elements and the urban signs present themselves as a unit.» | S. Benko Art Critic

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:237 W x 190 H x 0.1 D in

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