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Alberto Gulías offers us all his plastic universe in this sample in the Center of Art Jaime Trigo. The whole digest of technologies and expositions that offer us an imaginative exercise of surprising consequences. His works, with Bizantine and Flemish recollections, are only the pretext for the continuous inquiry in the own work of art, in his possibilities, in his expositions, in the challenges that this one generates to an artist who far avoiding the battering, shows the necessary strength for dominating his own work, for dominating his fantasy.
The enormous word od symbols that Alberto Gulías (Caracas, 1964) desplay in this sample of his last works in the Center of Art Jaime Trigo of Pontevedra, must no take us for surprise, as for his fecundity and imagination, since these are weapon that it he takes exhibiting for an longtime, beside not relaxing about the subworl that is inserted in each of his works.
Dominator of diverses languages, of technologies or disciplines like painting, teh collage, or the sculpture, all of them they are spilt in an final powerful result and the affects a spectator who never stops seeing the pictures selected for this exhibition.
Each of his works possesses such a wealth of shades, of details, of hidden aspects, disguised others, some abettors, and shy others that a dizzy tour proposes itself from each of them for the fertile imagination of this artist bought property in our city. Alberto Gulías exhibits in this set of pieces all his skill, thought it surprises the finished end that obtains in his work, an detailed almost of goldsmith, of reoutbidder that slowly and fondly it is working the precious material to achieve a final inmaculate result, teh really interesting of his works, specially of an great series of them, it is this symbolic conjunction that is achieved in his interior, proposing a luck of hieroglyph with a cryptic language that turns concerning a great central figure. Aspects as the time, teh writing, the ancient cultures or the trips, are leaking slowly for the whole structure of the picture that surrenders to an exhaustive study to summon ourselves for this symbolic orgy abd that it was doing a lot of time we were no finfing in the creative one.
To the lovers of the art he art he will fill with enthusiam this series where the gilding us is going to send to these Byzantine icons, to the sumpltuosity oriental of an art that under all this tinsel-worm in sacred his raison d´être across the whole symbolic code, now we replaced the sacred thing with different topics, for differents excuses in order that the artist develops all his potential and this way it is since these pictures arise where of the Byzantine universe we can jump to the details that the Flemish worl developed in the Renaissance period.
Games od mirrors, absolute precision, secreat codes inside the picture, objects...definitively that well could "The Marriage Arnolfini" claim at any time his space in one of these works. But together with determining these with which the one that likes it the art will no stop of gloat, we think the value of the human being that already it has been present in Alberto Gulías´work. On him it will turn everything, managing in some sculpture to turn even into the support of yes same, teh cozy modal of the human body that emerges of his interior in the best support that this one minght find. The human being centers in yes the same, fearful of the world of legends and statements that they stalk from an exterior which in occasions ne it denies to face, there being gathered in an species of ball, a shell intimate and private room that leads teh man to the prudence of his own ego.
Alberto Gulías´s work come strongly to this one happily recovered artistic center for our city and gives us the welcome with a reintepretation of the nature from an evocative shop window that seems to want to prepare for teh imaginative world that in the interior it is going to propose us. This imagination is going to startle us for his fertility, but simultaneously it will grant the emotion to us of what we themselves can to contribute to these works in which the final piece is absent. We themselves
Ramón Rozas
Diario of Pontevedra. Arts. Magazine. MPM. Pág 13. 8-4-2007
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