A Geometry for Reality. The optical interrogation of the pictorial element.
If cultural tradition conditions the work of an artist, then talent liberates his creative freedom. Pedro Diego Alvarado belongs to a cultural tradition interlaced with family tradition. His talent is expressed in a dimension where to seek a geometry for reality is to find a complex harmony of orchestration at several levels simultaneously.
His materially stratified pictorial surfaces find their variations of tone through a scraping that seeks associations in depth. At the same time, the themes that emerge in Alvarado’s paintings sprout from the figurative tradition—still lifes and landscapes—and appear beyond a formal pretext. There exists, in the optical interrogation of the represented element, a hieratism, where local color is manifested and fruit becomes slippery green or red roundness or course yellow.
Some oranges are cornered into the angle of a box, two pineapples peak out from the border of the frame and several tomatoes are sprawled evenly on an undefined surface. The entire surreal game has decanted and the known geometric stylizations foretell other echoes.
In the large compositions, “Nopalera” and “Arpillas de Avena I” and “II” (Prickly Pears and Oat Stacks I and II, respectively), the abstract and the figurative are equally founded. The formal intensity is transformed into a theme and the oat stacks, pushed to the limit of their own pictorial conception, move in perspective to find their own figurative weight. The three-dimensionality, the vanishing points, the traditional space, acquire the value of a metaphor whose key may be found in the pictorial creation that, similar to a text, traverses the entire flat surface of the canvas.
In the paintings of Pedro Diego Alvarado, the formal values have been materialized and seek out the density of what is unique and alive.