LITTLE CHIRIBIQUETE
Albert Pinya
Albert Pinya
Following the artist’s signature style of fun characters in Black & White contrasted with bold colors and graphic shapes, this new body of work by the Mallorca based artist is intriguing, bold and brings joy and happiness to delicate and complicated subject matters.
Little Chiribiquete makes reference to a Natural Reserve in Colombia that holds monumental murals by the native cultures that inhabited those sacred mountains, in which the reference of life and nature, animals and the way of life is present in beautiful intricate murals.
Albert Pinya (Mallorca, 1985) His work is based on an intentional and ironic naivety that manages to dismantle the perverse structures of reality. He has quickly developed his own recognizable style, in which the artist applies the codes of popular culture, comics, illustration and a meditated naive aesthetic that hides a precise treatment of the themes he explores.
His work denies the “l’art pour l’art” concept and understands that, as the form of expression it is, art is eminently communicative and must always be based on an ideology. For all these reasons, rather than speaking of ‘artistic creation’ we should speak of ‘artistic reaction’.
Painting, drawing, intervention, installation, performance, graphic work and sound are the media he uses to develop the discourse of his narratives. One of his main obsessions is focused on the study and observation of the human being and the way he establishes relationships with society and the environment.
THE SCULPTURES
Albert Pinya not only invites the colours in a frenetic spectacular dance, he invites all the artistic forms of his knowledge to an initiatory rite where art recovers its power to generate reactions of all kinds, and he does so by allying himself with ancient art and segregating an art of the future. Pinya’s is an authentic proposal that invites us to forget the effervescent misery that surrounds us in this time of war and chaos. We celebrate with euphoria this choral song of salvations and passions”.
Because Pinya makes his brushes take root in this primitive art, not primitivist because it is of an almost outrageous modernity, to extract an ambrosia that vivifies the cracked blood of the present from immemorial referents that give us a foundation to sustain us in the midst of the current barbarism of ignorance, an intellectual genocide that Pasolini also denounced in his corsair writings and his Lutheran letters.
With his striking, ancestral art, Pinya, like his revered master Joan Miró, generates primordial roots to soar into the constellations of the future. This euphoric exhibition at the Alzueta Gallery in Barcelona confirms him as the referential punch that he is.
Jaume C. Pons Alorda
