Antonio Alza’s drawings are visual elements of a tour that time shapes until become more complex, deeper, and transcendental.
Since he was a child, Antonio Alza has been interested in visual art. His childhood, in New Berlin, an inner town in Uruguay, and then his adolescence in Montevideo fed him with element that cannot be learnt in the Fine Arts School. His raising took place in a family that knew how to enjoy arts, with innumerable painting in the walls and good music accompanying those days.
Drawing is a part of his life; an extra way to say or communicate something, but without words. His self-educated training was based since the beginning in expression, that opportunity of saying a complete something through the aesthetic and the possibility of creating beauty. As time goes by, this expressive pleasure was transformed into his work tool, with an own language and a defined state of being.
Antonio wants to be faith and honest with himself. In his artwork, a concept is immutable and pure before possible interpretations and speculations of who is looking at them. The axis surrounding the work of arts’s production is man. In this pass of life, senses are mutating and transforming the scene into new and unexpected forms. This way, his works of art change.
His drawings are supported by, as he calls, “an economy of resources: the format and an element that scratches and marks over it.” Antonio’s style allows managing without accessory elements or complex depths to focus the attention in the subject.
Everything begins with an idea, a visual concept that appears in his heads and becomes in lines, shapes, and drawing on the paper.
The majority of his production is found outside Uruguay. There are some drawings in Argentina, Brazil, Chile, Mexico, United States, Spain, France, China, and Germany. They are part of big collections of contemporary art.
His work, as he says, is a “constant journey to complexity, in the unflagging attempt to find a pictorial result in the drawing,” that is, to complex it in elements and finishing touches as much as in the sense that the production of the artwork can have through the pass of the time. Finally, after a long intellectual exercise, Antonio rejects the existence of art in essence, affirming that “my work speaks the individual and not crowds, because these are more stupid and primitives.”