Javier F. Granda published in the Asturian art magazine, Art Ajimez, the following article on José Carlos Alvarez Cabrero that we share with you:
The artist Alvarez Cabrero (Oviedo, 1967) has led a resurgence in Asturias creative scene to gather visual expression and literature, continuing a practice that has historically led to brilliant productions and, where appropriate, we can track following the examples we will mention briefly. Simultaneously, the artist has sought to address in a new cinematic language through trial and experimentation. In April 1998
María Álvarez Morán, in the catalog that the Museum of Fine Arts of Asturias devoted to the exhibition of paintings and prints by Alvarez Cabrero, total coherence pointing his paintings are "a parade of influences, but the particular narrative of his work, and their origins, are based on the comic "and added that" in his work is very important the language of inanimate objects, which are language texts as effective as the protagonists. " This statement is a preview of what the artist would then generate, once you decide to share the powerful ability to evoke his work with writer willing to dwell on it, and to channel their concerns films.
In 1999, embodies the collaboration between poet Pelayo Cabrero and publisher Fueyo caused by Fermin Santos (Ed. Pata Negra), which suggests their participation in a project called 20x20, still standing with considerable assistance in editing graphic and poetic Asturias. Of jumping from which both artists are released we have the limited edition (100 copies) of a poetic repertoire that provides eight poems Fueyo "dialoguing" with as many etchings by Jose Carlos Alvarez Cabrero, we find a rich exploration of everyday environments and imagination of both artists. William Burroughs said that when two minds working together, a third is created ...
The second example comes from the hand of Septem Ediciones in 2007 under the title "Message in a world drawn. Alvarez Cabrero 15 drawings by 32 illustrated literary scouts, "which brings together very different writers under the coordination of Antonio Valley, to devise a book of short stories based on images of the artist. Valley rightly emphasizes in the preface of the book than Cabrero is a work full of suggestions for literature and warns us of its intention clear communication. The publication reproduces fifteen illustrations, some of which had already been taken on a beautiful run of five hundred copies by Paloma Esteban Ciriza in "Drawing Pad" (Oviedo, 2000).
Only a year later that Septem Ediciones rolled out its book to market, the baton was picked up again by Ed Pata Negra for a "Mythology Asturiana" special that builds on previously unpublished images of the artist. The result is a limited edition (75 copies) which includes twelve prints original and twelve previously unpublished texts by writers who take us a new and disturbing vision of mythological characters processed and taken to a strange and amazing scale devised by Cabrero. The work is a folder kept showing pictures and stories Asturias reinvent something that had been manipulated to satiety: mythology, providing a powerful new vision for what he has bet new, authentic and transgressive.
From this set we can extract the imaginary artist has an enormous capacity to evoke, who directs the projection of the scenes into the narrative field, which recreate and reinterpret, waking up in the writer a powerful attraction. The expression is not well on the surface of the fabric or paper, but flows in the ether to be collected, multiplied and fixed in form of writing. But Cabrera also gives us a narrative that relies on a strong plot, whose dynamic and sequential element branches up to the field of moving image. See the animated short "Caracerdo" (1998) or in the subsequent incursion of the artist in the film world with "The trees of the empire" (2005) and "The Enigma of the attic left" (2008) the search for greater expression, or at least a new dynamic way in which to shape scenes have their connection with a previously tested code in the plastic and now handled with a new language kaleidoscopic. The same is true when we see their need to enter another dimension with pictorelieves to which special attention has been devoted in recent years. Cabrero
grown figurative and scenic, showing a strong interest in social criticism. Stands and positions in the compositions from the caricature, employing some pop aesthetic and comic reminiscences helping to amplify any situation with a distinctly sarcastic and ironic. His work is distinctive and expresses a strong continuity along the years, showing true to its principles. It is not only an artist but also an excellent craftsman who works the paint, drawing, engraving or experimental film, with marked autoexigencia. We have no doubt that Carlos is a perfectionist and meticulous with his work and that in turn branch enjoys the same experience in the subconscious of other artists who perform it.
The nature of his work is not inconsequential despite the playful and ironic is shown with different shades. His extraordinary compositions put us in environments laden with powerful triggers that celebrate an open criticism of the enormous variety of characters that shape our society. Such criticism as necessary and "strange" at a time, turned into admiration, which has been safely moved the writer to engage with the aura of a conscious artist and successful, knowing part of the stream that flows from his post.
recall again the words of Alvarez Morán about Cabrero exposure at the Centre de Cultura Antiguo Instituto de Gijón, in 1997, "we all want to go out in the pages of Charles, at the risk of not appearing or being part of the scenario an amazing parade of quirky characters. " The desire to be part of this gallery is confirmed by those who have contributed to the works cited, witnesses admired by the extension of his work in a multi-faceted literature and proposals, many open windows show he has known. The same applies to the variety of actors who portray the characters in his movies.
of various proposals and collaborations as we sense a huge respect for an artist who has not been evaluated in Asturias as it deserves. The perversion that pervades this society terribly manipulated and fragmented by all levels of power, has sought to limit its expressive channel, or trying to move in the paint sample of the Principality in 2003, it proved to be totally insensitive to their work movie show us a strong commitment to shaping a new discourse only understandable in light of a sublime atmosphere.
All this, with his deep independence and authenticity, helps the artist to become one of the "cursed" of our time. But it must be a damn, who like others that preceded it, will not fail to shine in the firmament of the most notable.
María Álvarez Morán, in the catalog that the Museum of Fine Arts of Asturias devoted to the exhibition of paintings and prints by Alvarez Cabrero, total coherence pointing his paintings are "a parade of influences, but the particular narrative of his work, and their origins, are based on the comic "and added that" in his work is very important the language of inanimate objects, which are language texts as effective as the protagonists. " This statement is a preview of what the artist would then generate, once you decide to share the powerful ability to evoke his work with writer willing to dwell on it, and to channel their concerns films.
In 1999, embodies the collaboration between poet Pelayo Cabrero and publisher Fueyo caused by Fermin Santos (Ed. Pata Negra), which suggests their participation in a project called 20x20, still standing with considerable assistance in editing graphic and poetic Asturias. Of jumping from which both artists are released we have the limited edition (100 copies) of a poetic repertoire that provides eight poems Fueyo "dialoguing" with as many etchings by Jose Carlos Alvarez Cabrero, we find a rich exploration of everyday environments and imagination of both artists. William Burroughs said that when two minds working together, a third is created ...
The second example comes from the hand of Septem Ediciones in 2007 under the title "Message in a world drawn. Alvarez Cabrero 15 drawings by 32 illustrated literary scouts, "which brings together very different writers under the coordination of Antonio Valley, to devise a book of short stories based on images of the artist. Valley rightly emphasizes in the preface of the book than Cabrero is a work full of suggestions for literature and warns us of its intention clear communication. The publication reproduces fifteen illustrations, some of which had already been taken on a beautiful run of five hundred copies by Paloma Esteban Ciriza in "Drawing Pad" (Oviedo, 2000).
Only a year later that Septem Ediciones rolled out its book to market, the baton was picked up again by Ed Pata Negra for a "Mythology Asturiana" special that builds on previously unpublished images of the artist. The result is a limited edition (75 copies) which includes twelve prints original and twelve previously unpublished texts by writers who take us a new and disturbing vision of mythological characters processed and taken to a strange and amazing scale devised by Cabrero. The work is a folder kept showing pictures and stories Asturias reinvent something that had been manipulated to satiety: mythology, providing a powerful new vision for what he has bet new, authentic and transgressive.
From this set we can extract the imaginary artist has an enormous capacity to evoke, who directs the projection of the scenes into the narrative field, which recreate and reinterpret, waking up in the writer a powerful attraction. The expression is not well on the surface of the fabric or paper, but flows in the ether to be collected, multiplied and fixed in form of writing. But Cabrera also gives us a narrative that relies on a strong plot, whose dynamic and sequential element branches up to the field of moving image. See the animated short "Caracerdo" (1998) or in the subsequent incursion of the artist in the film world with "The trees of the empire" (2005) and "The Enigma of the attic left" (2008) the search for greater expression, or at least a new dynamic way in which to shape scenes have their connection with a previously tested code in the plastic and now handled with a new language kaleidoscopic. The same is true when we see their need to enter another dimension with pictorelieves to which special attention has been devoted in recent years. Cabrero
grown figurative and scenic, showing a strong interest in social criticism. Stands and positions in the compositions from the caricature, employing some pop aesthetic and comic reminiscences helping to amplify any situation with a distinctly sarcastic and ironic. His work is distinctive and expresses a strong continuity along the years, showing true to its principles. It is not only an artist but also an excellent craftsman who works the paint, drawing, engraving or experimental film, with marked autoexigencia. We have no doubt that Carlos is a perfectionist and meticulous with his work and that in turn branch enjoys the same experience in the subconscious of other artists who perform it.
The nature of his work is not inconsequential despite the playful and ironic is shown with different shades. His extraordinary compositions put us in environments laden with powerful triggers that celebrate an open criticism of the enormous variety of characters that shape our society. Such criticism as necessary and "strange" at a time, turned into admiration, which has been safely moved the writer to engage with the aura of a conscious artist and successful, knowing part of the stream that flows from his post.
recall again the words of Alvarez Morán about Cabrero exposure at the Centre de Cultura Antiguo Instituto de Gijón, in 1997, "we all want to go out in the pages of Charles, at the risk of not appearing or being part of the scenario an amazing parade of quirky characters. " The desire to be part of this gallery is confirmed by those who have contributed to the works cited, witnesses admired by the extension of his work in a multi-faceted literature and proposals, many open windows show he has known. The same applies to the variety of actors who portray the characters in his movies.
of various proposals and collaborations as we sense a huge respect for an artist who has not been evaluated in Asturias as it deserves. The perversion that pervades this society terribly manipulated and fragmented by all levels of power, has sought to limit its expressive channel, or trying to move in the paint sample of the Principality in 2003, it proved to be totally insensitive to their work movie show us a strong commitment to shaping a new discourse only understandable in light of a sublime atmosphere.
All this, with his deep independence and authenticity, helps the artist to become one of the "cursed" of our time. But it must be a damn, who like others that preceded it, will not fail to shine in the firmament of the most notable.
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