alberto garcía alix

  • El cómplice, 2012
    Fotografía Ed 2/7
    47 x 47 cms

  • Naturaleza de cardos, 2014
    Fotografía Ed 2/7
    47 x 47 cms

  • Nunu, 2014
    Fotografía Ed 2/7
    47 x 47 cms

  • Flor de tumba, 2015 (Valparaiso)
    Fotografía Ed 2/7
    47 x 47 cms

  • Mujer con sombrero, 2015
    Fotografía Ed 2/3
    47 x 47 cms

  • La Mancha, 2016
    Fotografía Ed 1/7
    47 x 47 cms

  • El retorno del héroe, (homenaje a Mike Hailwood), 2017
    Fotografía Ed 2/7
    47 x 47 cms

  • Indeleble máscara, 2011
    Fotografía (Ed PA)
    47 x 47 cms

  • Visión Épica de San Carlos, 2014
    Fotografía Ed 1/7
    47 x 47 cms

  • Espacio Eléctrico, 2014
    Fotografía Ed 1/7
    47 x 47 cms

  • Expresionismo feroz, 2014
    Fotografía Ed 1/7
    47 x 47 cms

  • Entrada al Purgatorio II, 2008
    Fotografía Ed 1/3
    110 x 110 cms

  • Chopper II, 2014
    Fotografía Ed 2/3
    110 x 110 cms

  • Moto: alma de circo, 2015
    Fotografía Ed 2/3
    47 x 47 cms

  • Dolor derretido en plomo, 2008
    Fotografía Ed 1/3
    110 x 110 cms

  • Vegetación para un mausoleo, 2009
    Fotografía Ed 4/7
    47 x 47 cms

Motorcycles, women, music, night-life, drugs, life and death have always served as an inspiration to Alberto García- Alix.

There is a radical transformation between his images of the 80s and 90s and those of the present. His earlier pictures comprise portraits and self-portraits of characters mounted on their machines in the midst of a number of circuits, festivals, streets and highways, introducing us into the world of motorcycling from within. In his more recent work, whole machines are never on view. More suggestively, he plays with their shadows and with the writhing effects of the light projected upon them. In short, this suite of photographs transmits the beauty and the care with which García-Alix has portrayed his life and its links to the motorcycle.

The real object is transformed through the use of a fierce expressionism; allegory, feelings, state of mind; what is actually defined or present matters little. Motorcycles, like the buildings of Paris or China or the silhouettes of trees and railings express extreme solitude, forlornness; metaphors for abandonment or escape.

Exhibitions