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Having started his training at the Faculty of Fine Arts, San Fernando, Jesús Alonso avoids stylistic stagnation. Throughout his career, he has been continually changing his approach to both the figure and landscape, and especially, to the very meaning of representation. As his focus of attention widens, he consumes certain languages in a process that seems to dilute the identity of the artist. This elusive quality has turned out to be a characteristic of his work.
Although his current works appear to be drawings, they are actually paintings taken to the limit of the detachment process, always seemingly anchored in what has been vaguely called figuration.
“Menuet”, the title of last solo exhibition (2022), refers to that elegant ballroom dance that was practiced during the Rococo period. In the works that make up this exhibition the sparkle of burlesque sometimes leads to grotesque details. The original curiosity about the face is transmuted in certain scenes, where it evaporates to give way to a concert of birds that emulates Frans Snyders.
On other occasions, it is the birds themselves who talk to each other or try to maintain an unknown conversation with those beings with deformed faces.
The presence of old and forgotten engravers such as Cornelis Bloemaert, as well as Robert Crumb´s taste for black on white, is filtered through the persistent and obstinate drawing of lines that embodies his latest works.
