To undertake a search of invariant aesthetics or commonplaces in Alejandro Campins work may guide us to a blind alley. In his work there is no zero point, the famous hard nucleus to clear among the rubbish of brushstrokes, textures and capricious characters as his are. His painting is too spontaneous to detect patterns, symptoms moreover of an exercise of calculation and premeditation that has nothing to do with his habitual practice. For Campins, the work, as the creative moment, emerges from what is circumstantial, what is unforeseen. It will be the temperature of the initial moment what will establish the morphology and definitive spirit of each piece. (…)
His is a creative vocation with an oneiric nature, where stories are articulated on his own and collective experiences, intuited and figurative.
We may say that this type of processes, operating superpositions, uneven confluences and interweaving correspondences between the individual universes and that of the visualities exported by the mass media, is in debt with the thesis by Barthes that points at the author’s grave under the weight of multiple quotes which eventually constitute a work of art. (…)
