Alejandro Ospina is a painter and a creator of images who understands the pictorial heritage that his brush carries. With his work, he pays homage to the past and present of the image, temporalities that converge with great balance in his work. Using digital tools, he subtracts brushstrokes of photographs from the works of canonical artists such as Arshile Gorky and Joan Miró and uses them to integrate into the concentration of art. In addition to using styles representative of the avant-garde, in which painting was one of the main elements of exploration, 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 the image.

This makes his work a tangible commentary on the traditional means of representation, the rhythm of contemporary life and its incidence 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 he takes from the Internet and that integrate his compositions manage to distance themselves completely from their origin and generate as many worlds as interpretations through visual languages that explode at sight, with which the artist manipulates the two-dimensionality of 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, accumulates and merges layers of visual information with each blink of an eye. This is why his work is composed of a large accumulation of images and information from the digital world, which is deconstructed and then articulated on the pictorial plane, to create an apparently chaotic image but with great compositional harmony. Thanks to this methodology, he achieves the sensation of the information overload that we suffer from the intrinsic tie that today's society has with the internet, and how this ends up disfiguring the unrecognizable image that in principle was figurative and understandable.

"Now we look at images very quickly: each one is being added to the others in consistent layers, which our subconscious will then decipher and organize within our thoughts. I try to capture this with my works: layers of transparencies, one on top of the other, of the images around 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 must find how to fit them within a space to find an elegant solution."