An Approach to Alfredo Sosabravo

/ 1 December, 2015

A qualified painter, printmaker, ceramist and draftsman, Alfredo Sosabravo is first and foremost an artist, capable of finding, whenever he has had the need to express a new idea, the most convenient vehicle for his visual formulation. Knowing the particularities of every media he has known, as very few do, how to choose the technique and the support to use when approaching some subject matter of his interest, whether in a formal or a conceptual level. This way of facing the artistic process is what has allowed him to develop a work of remarkable plurality, born from the discovery he has made in the course of his career with the most diverse materials and techniques. As a matter of fact, if something distinguishes his poetics it is the fascination provided by the use of such an amount of tools, beginning with his first experiences with canvas and oil until arriving at the frenzy of glass, going through the apotheosis of clay and the daintiness of paper, always revealing the enchantment that working with so many different elements has produced in him.

[…] It is worthwhile to keep in mind that painting is his way of expression par excellence. Its practice allowed him to make a start as an artist, acquiring a trade and mastering the technique in an unbeatable way, which he transfers as a permanent aspiration to every creative project in which he is involved. This has allowed him to achieve that perfect conclusion characterizing his works, in any of the manifestations in which he expresses himself. No less important in the development of his pictorial proposal has been the search for textures to which his obsession with the mysteries of color is associated. He has devoted a large part of his career to master it in a journey extended from his initial experiences with painting to the chromatic explosions of the glasses, passing through the glaze of the earthenware.

[…] In practice, his refined sense of humor has protected him from the negative charge reflected by some of the problems he has dealt with. Many have been his influences, many the visual stimuli, but his admiration for the proposals of his national or international colleagues have never left a direct mark in his works. Belonging to that generation that reacted in the world against the predominance of abstraction in painting, Sosabravo, on his own right, deserves to be considered one of the most genuine representatives of that movement in an international level. He is entirely right when he says, “I am happy and I have reasons to be, I have arrived to this age making art. After some time I know what I am doing, where I want to arrive with my work… I hope to be an artist always.”

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