A close look at one of Alfredo`s paintings leads to interesting discoveries. The surface is full of rasps and scrapes, stains, impastos, graffiti and lines. This treatment creates an enormous amount of “mini-spots” in even small areas of the same colour, allows for endless varieties of contrast, shade and tonality.
“I normally start out with a kind of neutral background in an orangey hue and on top of that I draw an initial outline with brownish lines. If the human body is my main theme I use the face as a key to centre the composition. From the beginning I have a colour scheme in mind but I am always open to change.
The bulk of his work is dedicated to representing the human figure. In doing so he simplifies reality without diminishing it. He approaches his objects as straightforward as possible, applying his colours in exact layers to show us how he sees a glass, a piece of fruit or a face, and then combines them in the same way a film editor adds frame to build up a sequence. The end result has that slightly baroque look shared by all works of art that are intensely alive.
One of the most characteristic aspects of his women and men is the treatment of the eyes.
“By eliminating the pupils you can achieve a different look, a different expression. Simply insinuating the raising of an eyebrow might suffice”.
Using this statement as a starting point, we will see that in his away of painting eyes he uses a three dimensional, i.e. a sculptural solution, to solve a pictorial challenge. Empty eyes, hollow eyes, eyes that resemble caves, empty almond shaped slits. All reminding us of the mythological caves of Greek antiquity.
Traditionally eyes are assigned the role of “windows of the soul” able to reveal an invisible reality. In Alfredo`s case the eyes are enigmatic and we don’t know if they look outward or inward, or scrutinize us obliquely.
David Gamella, Sculptor and Art Therapist.
Alfredo Roldan – Elca.