Alejandro Sánchez awakens curiosity for the brilliant combination of the evident and the hidden in his representations, which demonstrate that symbols can be transformed to acquire a life of their own as they are reinvented. His work insightfully denounces the social and economic changes in Latin American countries, especially Colombia. Globalization, democratization and the excessive economic growth of some nations are the causes that, according to the artist, produce alterations in our social structures. Sánchez examines free trade, privatization and multinationals as the factors that drive the evolution of these dynamics. Thus, he reflects through his artistic production on the consequences of these dynamics, such as socio-cultural displacement and cultural uprooting.

He is an artist who, although most of his works are sculptural in nature, considers painting as his plastic language par excellence. In his work, he uses pigments on different types of surfaces in order to represent different objects, such as the trompe l'oeil or eye trap. In this way, he manages to redefine painting and contribute new meanings in which its reading ceases to be solely linear or frontal and acquires a hybrid character in which its limit with sculpture is diluted.

In the series Some Economies, perhaps his most representative so far, Sanchez builds similes with metal roof tiles from houses on the outskirts of big cities, which he exchanges and replaces with new ones. This involves several paradoxes: the fictitious simulation of an object on a real scale, the fragile materiality of these tiles in contrast to the forcefulness of the image he achieves, and the action that is generated to obtain his raw material, which can be read from artistic activism and which allows him to insert his work in the social context without falling into the local narrative. These containers modify the pictorial support they contain and impregnate it with a new meaning. In addition to being a reflection on the dynamics of international trade and globalization, they constitute a critique of the construction of personal realities based on collective desires.

"I am interested in counterbalancing two types of economies: that of the big businessmen and entrepreneurs and that of the marginal communities that work for them. The materials I use to emulate the containers are those used to make the roofs of houses in the slums, such as wood and tiles. Thus, I establish an association between the roughness of the tile and the roughness of the containers."