Alejandro Munera Ramirez


Alejandro Munera in his series entitled FRAGMENTS, constructs a visual thought by expressing it on the fabric or paper support, with this construction it approaches a certain figurative notion of urban landscape. The forms represented are recognizable by the eye of the beholder; but also they are diluted in color and gesture approaching a certain notion of abstract painting, in this series the painting-installation is evident where through an urban nomination of the artist the perceptual sensations are captured which stimulate his creative doing. The means used give an account of the dynamics of the artist's creation, painting and drawing interconnect and interrelate creating the visual language. In its TRANSURBANCIAS series, the dynamics are very similar to the previous one, but here the painting and the video are combined creating the exhibition environments. And finally, in his most recent series entitled RESIDUAL PAINT, the painting process prevails, creating a “symbolic body” according to the artist. These bodily forms float in the middle of colored atmospheres, vaporous spaces that make the bodies become totally light, and float in a vacuum. We can find a kind of hybridization between human forms and animal forms, it is true that the references to which Alejandro Munera alludes are self-referential and rest in his memory, this compositional game of background and figure sometimes takes us back to the beginning of the painting at the dawn of humanity.


These painting laboratories are composed of two fundamental elements, the image construction of a symbolic body and the recurring spatiality in the vaporous and the loss of gravity. The symbolic account of a search laboratory for those references anchored in personal memory from where successive symbiosis
between man and animal occurs. The claim with hybridizations refers to a strange and convulsive beauty that, under the self-referential drawing, presents new iconic possibilities. The vapor is produced in the painting when in a determined way it is committed to placing narrative and allegorical situations in weightlessness. The pictorial screens then account for the loss of
perspective and weight, but at the same time, they explore materiality as a nostalgia for the physicality given by the texture in its stratigraphic summation.
In the end, vaporous space and egregious image converge in an amalgam where the painting finds a contemporary sense of translation.

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