Artist Statement


My art process is mainly based on what I understand as Painting: the dialogue between the different picture elements of each artwork and the relationship established with each others. I establish in my artwork a plastic hierarchy that orders the chaos in a consistent manner that allows me to play with ideas, and with painting.

The concepts in my series are different: In Paisaje con árbol, I reflect about the change, repeating the same leivmotiv as an excuse to reinforce the idea of the time passing. In True Landscapes I intend to provoke reflection about the reality. I incorporate some elements of some landscapes without the intention of reliably represent a landscape in itself, just like modules that assume their role to distract to sow doubt: the paradox of the True Landscapes. In A mesa puesta, I homage the first photography in history (The table set, 1822, Niépce) adding variants to the original composition. I thus argue that any decision, fleeting as it may seem, has a significance.

My painting is a residue of research with various techniques where the skin of each painting is the result of serendipity and a process that seeks only to remain process.

"More important and fun that the end -friend Sancho, is the way". Miguel de Cervantes

Víctor Alba




Inner landscapes By Marcos Fernández (Blouin artinfo)

Víctor Alba: inner landscapes
By Marcos Fernández for “Surprise series” of NOCAPAPER ED. ( for ARCO and JustMAD6. Madrid, 2015)

Reality becomes whimsical when we try to trace a sensitive and evident vector. Hence trying to flee from this unknowing tends to produce in artists a solemn virtue of rebellion against the retina.

Here is where the landscape tradition, beyond illuminisms and pleniarisms, has tended to search for a voluble and ethereal space in the mind that somehow urges upon us, more than the exact depiction of a branch or a bush, what cannot be seen as opposed to what can be seen. This attitude creates tangencies with expressionist theories, which delighted in perceiving a lot and painting only a little, delving into the magic and spell of the brushstroke, the aged colour and open imperfection.

The path chosen by Víctor Alba goes deeper into the post-pictorial and romantic idea of the depiction of our surroundings. His graceful graphics, his gestural vehemence and the tachisme of his earthly fractures – under the condition of fast horizons – removes his painting from that blessed pretentious segment, to accumulate pictures revolving around the way he understands nature, the earth, geophysics – without an explorer’s pith helmet – and from some point of view, the territorial.

In some of his series, he comes up with a unitary and obsessive pictorial core, in which a tree acquires an almost mystical and abstract prominence, like the nucleus of a phantasmagorical exercise in expressive synthesis, far removed from any link that could unsuitably modulate the clearheaded impress of wanting to tell a story, unconsciously building himself just as he interprets himself, sees himself and reasons with himself. When a painting is a painting different rhetoric is not at all skilful, in fact it tends to get in the way because it does not emphasize the explicit figure of the pictorial happening as our own will and internalization.


Marcos Fernández

Marcos Fernández


Link NOCAPAPER Surprise series