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Rubén Cham: Why abstraction?
Marco Álvarez: Abstraction came into my work as a chronological evolution subsequent to my professional development (degree in architecture), as well as a personal inclination toward abstract expressionism. After completing studies in figurative, realist, technical, and precision drawing, I decided to return to my roots, meaning redrawing, deconstruction and abstraction. After having to learn to draw professionally, I began an inverse process. Using the bases of proportional composition acquired, I began to incorporate the innocence of drawing and very primitive painting. My approach toward abstract painting and my preference for abstract expressionism have to do with personal preferences for this ferociously masculine trend. It has a very physical and expressive characteristic, leaning toward the grotesque. My first contact with an artist who leaned toward the grotesque was Mathías Goertiz; I had the honor of being one of his students. From there, everything seemed like a logical as well as a personal consequence.
RCh: How would you describe abstractionism?
M.Á.: Nature is in essence abstract; it’s in our minds. When we fuse the elements that comprise nature, it gives it a figurative meaning in the context, which allows us to understand and better place space and time.
RCh: Do you acknowledge any influences on your work?
M.Á.: Definitely. Color arrived directly from the Coyocán market that I visited with my mother on Fridays, when they held an open-air market. The shapes come from the architecture of Barragán, Chillida, Zaha Haddi and Thom Mayne. The graphics from Cy Twombly.
RCh: Tell us about your selection of colors, composition, technique, use of symbols and graphic elements, the narrative.
M.Á.: The selection of colors comes from a state of mind or personal preferences. Several years ago, my preferences were for the earth tones, then for blues. I love to work with chromatic and formal impacts, which in one way or another led me toward deconstruction and drawing. I am not out to establish fables; they are simple interpretations of my experiences or a series related to a theme of a recent lecture. Technique is what seems to be most appropriate for each piece: oil, acrylic, watercolors, layering, mixing or just a simple drawing.
RCh: A compositive approach?
M.Á.: I have two ways to approach a piece. The first has to do with a chronological manner, a black and white sketch followed by a scheme of values. If I am happy with it, I then include colors. The second is more passionate, straight to the canvas without fear of failure. I enjoy this more because it’s like seducing a woman, one never knows how it will end. Anything can happen.
RCh: And construction or deconstruction of image?
M.Á.: As I previously mentioned, the formal impacts lead me in a direct manner toward the deconstruction of the form, to distort the image in a pleasant manner. Rigidity and symmetry are not my thing.
RCh: Where does your work originate?
M.Á.: Travel, lectures and visual stimulation most of the time.
RCh: Where is your work heading?
M.Á.: I think my next phase is with literature. I am an architect; I paint what is between the sculptures. I really enjoy mobiles. I like toys very much. I even have a small collection.
Marco Álvarez’ work will be on exhibit at Galería Pacíifico from February 25 to March 4.
By: Rubén Cham
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