Alamà offers through this series of saturated, vivid, and imposing reds, a privileged peek inside the universe of the painter’s studio, the practice of working with life models, and the vast plurality in sensuality. Red Studio synthesizes the many layers of technical research the artist has acquired over the last decade. Academicism and abstraction coexist again on the canvas: a new aesthetic chapter carried out by an overwhelming expressive force in the form of a dance between the measured and the vigorous brushstroke.
The work of any figurative painter is also the fruit of a dialogue with their models, a true collaboration. Every time the painter tries to capture the attitude and the pose of a model, we see a different character emerging. In this series, although some of the paintings represent the same model, we never see the same person twice. Only a slight change in posture, attitude, or look is necessary to bring to life a whole new personality.
A clear boldness emanates from each character differently, confronting the viewer with their unapologetic nudity and forward attitude. They are engaging but not plainly offered to the viewer. We are only allowed to be accomplices in their beauty, exploring their bodies without reservation or deception.
Red Studio has been developed in parallel with another of Alamàs’s ambitious series of paintings illustrating scenes of Hell in Dante’s Divine Comedy. Both series have grown in the same space – the artist’s studio – a place that can too often become hell in itself. The fire of the Dantesque Hell seems to crawl into these classical anatomical studies and envelop the figures with an abrasive red enamel, the main unifying thread of the series. Similarly, the works from the #ClásicosDesollados series also make an appearance, engulfed in flames and hung at the bottom of the Red Studio‘s works.
Written by Albert Navales
Jordi Diaz Alamà, born in Granollers in 1986, graduated from the Fine Arts from the University of Barcelona. He has also trained in national and international classical art schools such as the Florence Academy of Art (Florence) where he learned the techniques used by the great masters of 19th-century painting. He consolidated his training during a series of stays with contemporary masters of realism such as the Norwegian painter Odd Nerdrum, Guillermo Muñoz Vera, or Antonio López.
His personal work involves an impressive display of pictorial resources with a refined and mannerism-free technique that responds to the canon of contemporary classical figuration, continuously investigating new concepts and plasticities.
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