Pablo Álvarez
After studying Fine Arts and Interior Design at Antonio de Nebrija University, where he graduated in 2018, he continued his education with a Master's in Research in Art and Creation (2024), consolidating a career that combines artistic practice and theoretical reflection. Since the beginning of his career, he has sought experiences that broaden his perspective, participating in international projects such as ¿Cómo enseñar y hacer fotografía? (How to teach and make photography?) in Piura, Peru (2020) and a documentary photography program in rural areas with Erasmus+ in Dilijan, Armenia (2019). These experiences marked a line of work attentive to social issues and modes of representation in diverse contexts. His work has been presented in various solo and group exhibitions in Spain, and has received recognition from institutions and competitions. In 2024, he exhibited his work at Galería My Name’s Lolita (Madrid), and in previous years participated in shows such as the Pozuelo de Alarcón Painting Competition (where he won third prize in 2023), the Moncloa Cultural Center (Madrid, 2022), and the LXXVII Centelles Painting Competition (Barcelona, 2019). In Logroño, he was awarded third prize in the XXXIV Young Art Showcase La Rioja (2018), and in Segovia, he was part of a group exhibition and an artistic residency at AP Gallery (2017). His artistic practice is characterized by an interest in the intersection of image, memory, and territory, exploring through painting and photography ways of inhabiting, narrating, and reinterpreting contemporary experience. With a career that spans from international projects to national competition awards, he continues to develop work that dialogues between aesthetic research and the cultural transformations of our time.
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Escena y telón
In this pictorial series, Pablo Álvarez reflects on our relationship with contemporary images, understanding landscape as a constructed and culturally mediated scenario. The works present different situations that highlight this representational condition: a painting that dialogues with a work from the Prado Museum, a roadside advertisement that announces nothing more than the sky, a sky treated as a backdrop, or a deer posing frontally between portrait and trophy. Through these scenes, the landscape ceases to function as a background to become the protagonist and an image conscious of itself. The series invites the viewer to pause and question the framing, the staging, and the distance established with the image, activating the idea of the fourth wall as a limit and a meeting point between the painting and the observer.
El cuarto paisaje es líquido
Inspired by Gilles Clément's Manifesto of the Third Landscape, Pablo Álvarez Cuesta goes a step further with the series The Fourth Landscape is Liquid. This is a state of landscape that is not limited to the physical, but transforms and flows between memory, perception, and artistic practice, operating from transdisciplinarity. The artist conceives this project as a process of decoding and recoding stimuli, where sensory experience becomes metaphor. Thus, the landscape moves from being a solid space (physical territory) to a liquid one (memory) and finally gaseous (artistic practices). The works that make up the series explore visual-pictorial construction in dialogue with sound, through painting, animation, drawing, and acoustic sessions. This interaction proposes a new language where the visual and the auditory intertwine, inviting the viewer to enter an expanded and mutable environment, where the landscape becomes experience.
Virtual Distraction
In "Despiste Virtual" (Virtual Distraction), Pablo Álvarez Cuesta proposes an experimentation project that updates the landscape genre by placing it in a "mental metaverse." Far from daily routine, the artist imagines a parallel space for aimless wandering, a territory in constant construction that directly connects with creativity and imagination. This pictorial universe combines colorful mountain ranges, infinite deserts, saturated skies, and futuristic shapes with elements of the digital: pixels, glitches, and chromatic distortions that transform the tangible into the intangible. Inspired by Constant Nieuwenhuys's "New Babylon" and Aldous Huxley's "The Doors of Perception," the project offers a reflection on physical and mental freedom: unlocking the mind, traversing inner landscapes, and questioning the limits of the real. As Constant pointed out: "I don't design, I just provoke; I suggest concepts, not physical forms."
New Landscapes De-coded
In this series, Pablo Álvarez Cuesta turns painting into a metaphorical map of data's journey: from when it is perceived to its storage in the brain. With an industrial and dehumanized aesthetic, his works present scenarios such as gas stations, control towers, factories, or landfills, symbols of how we process, consume, and discard information in the digital age. The pieces function as cerebral landscapes where memory becomes large warehouses, reflection a courthouse, or distraction an amusement park. Works like "Estación de servicio" (Service Station), "El vertedero" (The Landfill), "Wind of Change," or "Cosmopolita" invite us to rethink the relationship between the individual and information in a world saturated with stimuli, where art acts as critical memory against disinformation.
