Uiso Alemany: “Reality does not interest me”

Uiso Alemany exhibition at the Muvim.Monica Torres

When the pandemic began to envelop the world with its shroud, the Valencian artist Uiso Alemany (80 years old) packed the latest productions in his studio in São Paulo and returned as best he could to his creative womb in the Alboraia garden. A good example of this artistic rescue has been exhibited for a few days at the Museu Valencià de la Il·lustració i de la Modernitat (Muvim), in Valencia, and with the peculiarity that it is possible to visit it without time limits, since located in a glazed and illuminated space at night. It consists of 14 large-format pieces and another 28 of a smaller size, gathered under the heading Take your eyes out of the paint, carried out between the 20s and 21s. “What was happening was so serious that I didn’t know if I would return to Brazil. I made a roll and brought it to me. They have slept the dream of the righteous for a year until the Muvim asked me to expose them. I was amused by the glass and that it was illuminated throughout the day. It was the reason that decided me, “he says now in his workshop. It is his first show since 2018, when he hung up on the Bancaja Foundation The suicide of the painting.

Take your eyes out of the paint it is a compendium of the most recent explosions of the suggestive cosmos of Alemany. With recent obsessions and primordial echoes. Without connections, although with the assembly of dark matter that expands his universe since he left Spain in 1958 and became a nomadic creator with studies in different countries. Several of the works exhibited are expressed in an undulating format, as if reproducing the inner tide that agitates him. Fernando Castro, in the book that documents the exhibition, alludes to the cave art reliefs. The concept that the artist handles is more encrypted. “Art is a mystery. And if you reveal it, you ruin its magic. The worst thing an author can do is explain and justify their work. I have been very little a painter of reality. Reality does not interest me. The magic of art occurs when it does not explain anything, when it leaves all the doors open to the viewer. Title Take your eyes out of the paint it is already an invitation to the emotion that takes you ”, dissuades.

The argument also serves for another constant in his work, such as the fence that hints at an alleged internal imprisonment, the gate of a prisoner who tries to see beyond. Or the novel resource of fried eggs as eyes that look into interrupted biological processes. “I don’t know what happens, but it comes out. This hand with which I paint has intelligence, knows and does what it wants. I have never dominated her: she dominates me ”, ditch. He compares it to jazz for what it has to do with improvisation. “He picks up a melody and around it he improvises a work that cannot be repeated. That is the wonderful thing. When you put yourself before a fabric, you may have a slight idea of ​​what you want to express, but it does not work. The painting is making itself. The hand is an extraordinary vehicle for this improvisation. It’s exciting not knowing how it’s going to end or when to stop, ”he says. “This exhibition has a surreal component that cannot and should not be explained,” he dug in. Alemany considers it painful to see a painter explaining a painting. He does not give titles to his works so as not to condition the viewer. “It is ridiculous that the hyperrealists who paint an apple and a glass of water title the painting Apple with glass of water”He shakes.

There is no other fuel that moves the artist than to surprise himself in what he does. “If it surprises me, it may surprise the viewer. I have to be the first surprised, otherwise it will be a boring work. Realism is boring. How are you going to match reality? The reality is elusive ”. That attitude led Alemany many years ago to the edge of surrealism. “Surrealism is the closest thing to jazz improvisation. Because it doesn’t explain anything. He is talking about emotions that each one interprets in a way ”. These emotions have materialized in thousands of productions, a large part in private collections, and many of them, painted in different countries, have hung in galleries on various continents (now he is trying to start a foundation to give continuity to the most than 5,000 works that he has accumulated since 1957). In all of them, beyond the formats and colors, there is the same substance: “Experiences that are pouring out”. All his concerns, he claims, are impulsively embedded in those lines. In a visceral way.

But Alemany is not a being encapsulated in himself. He is very concerned about everything that happens beyond his workshop, he even retains faith in humanity. “I get involved, but I don’t paint it. Art is not there to explain anything. It’s magical, ”he insists. See magic even in the situation that the citizens of the island of La Palma live after the eruptions of the volcano. “What is happening there with human behavior is magical. People have a civic behavior that has not been seen in life. There is not a fight or a criticism. They have lost everything and accept it. These people and all the state bodies that are helping deserve the Nobel Peace Prize. I would ask for a collective Nobel. I would like it to materialize and its financial endowment to serve to remake what is being destroyed ”, he proposes. He too is trying to reconstruct the series he was producing in São Paulo, of which Muvim is now exhibiting a sample, when the pandemic slowed down his creative rhythm: “It has blocked me. If it hadn’t been for the pandemic, this collection would have multiplied. I was in a very good moment ”.

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Uiso Alemany: “Reality does not interest me”