AVAILABLE ARTWORKS BY ALEC FRANCO
Nova Series
The work resists framing in concepts, it overflows the contours and borders of the rational. It is through the presence of color, combined with an abstraction at times with expressionist and other surrealist overtones, where the work expands into various formats and supports (acrylics, oils, pastels, charcoal, asphalt paint, synthetic enamel, on canvas , paper, wood and steel) transiting mixed materialities that overlap, crushing the apparent figures against heterogeneous backgrounds.
The work generates a sensation of fluidity, of liquids, of movement. Sensation of being in a celluloid space, inhabited by atoms, particles, that are in constant movement. This creates the idea of a corporeal space within the body. Of microorganisms, microscopic systems. Generating a sensation of the macro and the micro. Macrocosm and microcosm. I wonder: Are we one or are we all? Are we something alone, individual, or are we connected, interrelated? How is it that such a tiny universe in turn reproduces itself in everyone, therefore becoming an immense massive universe? How is the movement from the smaller universe to the larger universe understood?
What gives or maintains that movement?
GEN/ADN Series
DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characterize us in our concrete individuality, make us unrepeatable and yet resist us. That chain of molecules constitutes a conglomerate of clues that someone elucidates because we do not know how to read it. We do not know the links that make up that nucleic acid that delineates us and characterizes us genetically. Curious phenomenon of not having access to such precise and accurate data about oneself. They skimp on us, they deny us despite having more authority than anyone to know their own characteristics. The geneticist, the scientist, is the one who can illustrate our exact and unique genetic conformation. We are carriers of a key that identifies us but we do not know. Alec Franco's DNA work inquires about this secret and inaccessible figure and displays these nucleic acid segments from color, shape and texture. DNA visually and plastically explores the morphology of our genetic sequence. Franco's series investigates that cryptography, its textures and nuances in a tension between the hidden hereditary transmission we carry and the manifested and displayed visually by his work. It raises the horror and emptiness of the encounter with oneself while his palette proposes the fullness and joyful plethora of those who reach self-knowledge, overcoming the initial horror of the encounter with their own identity and uniqueness that we carry without certainties. DNA proposes a way to access that knowledge that is elusive to us by another way, the artistic one.
Circuitos Series
The work explores the interconnection between organic nature and circuits, reflecting the relationships between human beings. On the canvas, organic shapes are displayed that evoke biological structures, such as cells or fluids, intertwined with patterns of circuits and connections.
Contrasting colors are used to represent the tension between the natural and the artificial. Areas of color flow and merge, creating a sense of movement and energy, while the geometric lines of the circuits add structure that contrasts with the softness of the organic shapes.
The work not only seeks to be visually striking, but also an invitation to contemplate our place in the modern ecosystem, where the organic and the artificial coexist and intertwine.
ALEC FRANCO
REPRESENTED ARTIST
Alec Franco was born on August 7, 1972, in Buenos Aires, Argentina, where he currently resides. He has been a graphic designer since 1995. He began painting in 1991 and in 1993 he attended the drawing and airbrushing workshops of Ignacio Otero. His training continues in the workshops of Abstract Expressionism of Marco Otero, of Essentialism with Heriberto Zorrilla and Helena Distéfano. By 2012 he deepened his technique with Sergio Bazán and later perfected it in the clinic of Fabiana Barreda and that of María Carolina Baulo who was the curator of one of his latest samples Harena. He has been an editor together with other artists, writers, and designers of Hoornik Collection Art Magazine since 2016. He has made numerous samples between 2011 and 2017: at The Redchurch Gallery in Shoreditch, London in 2012-2013; at Stupid Perfection at the Borges Cultural Center in 2013; at the Buenos Aires Design in 2015; in the same year in the Honorable Senate of the Argentine Nation and in the Recoleta Cultural Center of Buenos Aires; the following year at the San Isidro Open Studio. The most recent: Harena, was exhibited at the Newbery Central Gallery and the Esteban Lisa Foundation in 2017.