Alejandro Ospina is a painter and image creator who understands the pictorial heritage that his brush carries. With his work he pays tribute to the past and present of the image, temporalities that converge with great balance in his work. While using digital tools, he subtracts photographic brushstrokes from the works of canonical artists such as Arshile Gorky and Joan Miró, and uses them to integrate himself into art history. In addition to using representative styles of the avant-garde, in which painting was one of the main elements, Ospina's work is a continuous exploration of contemporary currents of visual information and a questioning of how these affect and transform our relationship with image.

This makes his work a tangible commentary on traditional means of representation, the rhythm of life in contemporary times and its impact on our way of perceiving the image. Alejandro Ospina conceives his pieces under the principle of immediacy and collection - characteristic of the digital world - and materializes it through one of the most traditional means of representation: painting. The images that he takes from the Internet and that make up his compositions manage to completely distance themselves from his origin and generate as many worlds as interpretations. Through these visual languages ​​that explode into view, the artist manipulates the two-dimensionality of the painting to reveal its closeness to the digital world.

His goal is to simulate the activity of the mind when, encountering one image after another, it accumulates and merges layers of visual information with each blink. This is why his works are composed of a large accumulation of images and information from the digital world, which are deconstructed and subsequently articulated on the pictorial plane, to create an apparently chaotic image but with great compositional harmony.

“Now we look at the images very quickly: each one is added to the others in consistent layers, which our subconscious will then decipher and organize within our thoughts. This is what I try to capture with my works: layers of transparencies, one on top of the other, of the images that surround me. Electronic engineering helped me find a way to organize the chaos. “It's a bit like trigonometric substitution: there are several elements and we have to figure out how to fit them into a space to find an elegant solution.”