Alicia H. Torres



The work of Alicia H. Torres belongs to a very precise school of Abstract Expressionism, created in the 1940´s by artists such as Pollock, Rothko, Still, Hofman and Motherwell to name a few. Even though, she is clearly influenced by them, her work has its own personality and character. It shows the constant search of herself, where painting is her trump card and pretext.

In order to mesmerize Alicia´s art it is necessary to have a change of language in the way we communicate. It is not meant to be described with words but with the language of color, difficult by itself. I say it is difficult because when we look at her paintings, we cannot spent time to justify our shortcomings by looking at something they may represent, which can be a dog, cat or a thing itself becoming real. This is not going to happen. Her work presents itself, is born right there without any referents, which are not color by itself, as it is through her work that the artist seeks to crystallize, what she wants to express by having a constant dialogue between her feelings and emotions.

To interpret the style of work of Alicia H. Torres, it should be taken into consideration that it does not spring from the act of painting, rather from an attempt to create by playful gestures and actions that border on a paroxysm, on a vertigo that overwhelms or overcomes her. It is not creation what comes out of her in order to capture it on canvas, but rather creation itself which embodies her, sleeps with her and insists on being there until it is exorcised by her wish to be left alone either as a realization that invites to be looked thru as a way to enter a cosmic universe of noiseless blacks or cobalt blue under a blanket of white dust. These are colors that only tell the infinite time in which life as a slight breath allows us to be, or when it wants to flood us with explosive, delirious, happy reds, oranges and yellows, placed and taken to temperatures only possible through the passion or delight of the first kiss. Those compositions in greens tinged in a palette which clearly opens up the possibility of remembering that place where the young girls smell like moss, as José Asunción Silva wrote in one of his poems.

To summarize, Alicia´s work is a communion of emotions and feelings. Let´s not look for referents or let´s not justify her rationale as this would be condemning her to the most useless of gazes, the absurd and nonsense. Let´s think about her work from the emptiness, let her fill, bathe and envelop us in a time of tenderness, joy and nostalgia by wishing freedom or wanting to conjugate in the present that love of painting, as much as it is of knowing how to live freely and happily.

Carlos Julio Ramírez Vallejo
Sociologist, Sculptor and Artist