Mirada Frontal, Mirada de Púgil / Gonzalo García Pin
Each boxing match is a story: a drama without words. Alberto García-Alix´s photographs are also condensed stories, silent but eloquent stories. These are images imbued with a lyricism and stripped of artifice, poetry that always finds a place to settle within the framework: the tension in the foreshortening of a face, the tip of a shoe, a skewered vagina, the body of a bird, fuzzy profiles of a building … Direct poetry that explodes before our eyes with the radiance of a whiplash.

A vocational fighter, when García Alix concludes one of his joyful battles with images, there is only one winner standing on the canvas: his glance. A frontal view. A look of fighter. Pure epic.

García-Alix´s technique has evolved toward a meticulous use of black and white. His visual speech is composed in accordance with the maps that his life’s itinerary has sketched out, maps onto which the photographer sketches his mysterious, emotional and compelling artistic cartography.  A broad map on which objects and landscapes appear, photographs in which Alberto García-Alix captures the scenes of his own biography: houses, streets, roads and trails open up to infinity. Walls, facades and windows bounded by the camera lens. Open spaces on which his gaze jumps around and becomesIf someone put us in the difficult situation of having to choose only one of the topics dealt with by García-Alix in his work, that which summarizes its totality, that would be the human body. Its flesh, bones, and also the light that hides in its gut. And in the end, inescapably, the fight is bound be a body-to-body between Alberto and the light.

works:

THE CLOSEST I CAME TO PARADISE  ø FLESH AND BLOOD  ø  THE PLACE OF NO RETURN

DO NOT FOLLOW ME … I’M LOST  ø  THREE SAD VIDEOS  ø PARADISE OF THE FAITHFUL

CABEZA DE CHORLITO