Alejandro Pintado has been examining and re-working historical depictions of Mexico’s landscape in his paintings for some years. While l  iving and working in London, he  turned his attention to the English countryside for this exhibition. These are images of natural landscapes that are immediately familiar but which Pintado is keen to point out are as constructed as anything we find in an urban environment.   Sketched in charcoal on raw, unprimed canvas, the scenes, borrowed from 18 century engravings, serve as the support for Pintado’s interventions in brightly coloured acrylic. Pintado seeks to gently pick apart the tangle of social and political layering within the idea of the countryside, and in particular of the   picturesque  , that grew up in the grounds of aristocratic estates of the era. At this time the natural environment was being re-designed by gardeners like Capability Brown and William Kent, using their clients’ memories and mementoes of the Grand Tour as inspiration. The   idea   of England, it turns out, owes much to painters like Claude Lorraine who influenced both the creation and the depiction of the landscape of the time. By using the countryside of Gainsborough and Constable as source material, Pintado’s colourful intrusions thus draw our attention to the complex relationship between the physical world and its art historical representation, and the role that both have to play in a notion as nebulous as national identity.
       
     
 In the head of Capability Brown, 2011  charcoal and acrylic on raw linen with vinyl extensions  Post Box gallery entrance    
       
     
 Planned Roughness, 2010  Collage on antique print by Claude Lorraine
       
     
   
  
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   Switch off from uncertainty, 2012    Collage on antique print by Claude Lorraine
       
     
 Mindscape construction, 2011   Charcoal and photoluminiscent acrylic on raw linen 
       
     
   
  
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      Charcoal and photoluminiscent acrylic on raw linen 
       
     
  Sudden variation of irregularity, 2012    Charcoal and acrylic on raw linen
       
     
   
  
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   Design for managed  freedom   ,    2012    Charcoal and  acrylic on raw linen 
       
     
   
  
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     Landscape Diagram, 2011    Charcoal and acrylic on raw linen       
       
     
   
  
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   Mind’s strategy for   Stourhead garden, 2012    Charcoal and photoluminiscent acrylic on raw linen 
       
     
   
  
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   Strategy for spontaneity , 2012   Charcoal and photoluminiscent acrylic on raw linen 
       
     
   
  
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     Static beauty ,  2012    Charcoal and photoluminiscent acrylic on raw linen 
       
     
IMG_0514.JPG
       
     
post box facade.jpg
       
     
  Alejandro Pintado has been examining and re-working historical depictions of Mexico’s landscape in his paintings for some years. While l  iving and working in London, he  turned his attention to the English countryside for this exhibition. These are images of natural landscapes that are immediately familiar but which Pintado is keen to point out are as constructed as anything we find in an urban environment.   Sketched in charcoal on raw, unprimed canvas, the scenes, borrowed from 18 century engravings, serve as the support for Pintado’s interventions in brightly coloured acrylic. Pintado seeks to gently pick apart the tangle of social and political layering within the idea of the countryside, and in particular of the   picturesque  , that grew up in the grounds of aristocratic estates of the era. At this time the natural environment was being re-designed by gardeners like Capability Brown and William Kent, using their clients’ memories and mementoes of the Grand Tour as inspiration. The   idea   of England, it turns out, owes much to painters like Claude Lorraine who influenced both the creation and the depiction of the landscape of the time. By using the countryside of Gainsborough and Constable as source material, Pintado’s colourful intrusions thus draw our attention to the complex relationship between the physical world and its art historical representation, and the role that both have to play in a notion as nebulous as national identity.
       
     

Alejandro Pintado has been examining and re-working historical depictions of Mexico’s landscape in his paintings for some years. While living and working in London, he  turned his attention to the English countryside for this exhibition. These are images of natural landscapes that are immediately familiar but which Pintado is keen to point out are as constructed as anything we find in an urban environment. Sketched in charcoal on raw, unprimed canvas, the scenes, borrowed from 18 century engravings, serve as the support for Pintado’s interventions in brightly coloured acrylic. Pintado seeks to gently pick apart the tangle of social and political layering within the idea of the countryside, and in particular of the picturesque, that grew up in the grounds of aristocratic estates of the era. At this time the natural environment was being re-designed by gardeners like Capability Brown and William Kent, using their clients’ memories and mementoes of the Grand Tour as inspiration. The idea of England, it turns out, owes much to painters like Claude Lorraine who influenced both the creation and the depiction of the landscape of the time. By using the countryside of Gainsborough and Constable as source material, Pintado’s colourful intrusions thus draw our attention to the complex relationship between the physical world and its art historical representation, and the role that both have to play in a notion as nebulous as national identity.

 In the head of Capability Brown, 2011  charcoal and acrylic on raw linen with vinyl extensions  Post Box gallery entrance    
       
     

In the head of Capability Brown, 2011

charcoal and acrylic on raw linen with vinyl extensions

Post Box gallery entrance 

 

 Planned Roughness, 2010  Collage on antique print by Claude Lorraine
       
     

Planned Roughness, 2010

Collage on antique print by Claude Lorraine

   
  
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   Switch off from uncertainty, 2012    Collage on antique print by Claude Lorraine
       
     

Switch off from uncertainty, 2012 

Collage on antique print by Claude Lorraine

 Mindscape construction, 2011   Charcoal and photoluminiscent acrylic on raw linen 
       
     

Mindscape construction, 2011

Charcoal and photoluminiscent acrylic on raw linen 

   
  
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      Charcoal and photoluminiscent acrylic on raw linen 
       
     

Measure for irregularity, 2012

Charcoal and photoluminiscent acrylic on raw linen 

  Sudden variation of irregularity, 2012    Charcoal and acrylic on raw linen
       
     

Sudden variation of irregularity, 2012

Charcoal and acrylic on raw linen

   
  
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   Design for managed  freedom   ,    2012    Charcoal and  acrylic on raw linen 
       
     

Design for managed  freedom, 2012

Charcoal and  acrylic on raw linen 

   
  
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     Landscape Diagram, 2011    Charcoal and acrylic on raw linen       
       
     

Landscape Diagram, 2011

Charcoal and acrylic on raw linen

 

   
  
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   Mind’s strategy for   Stourhead garden, 2012    Charcoal and photoluminiscent acrylic on raw linen 
       
     

Mind’s strategy for Stourhead garden, 2012

Charcoal and photoluminiscent acrylic on raw linen 

   
  
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   Strategy for spontaneity , 2012   Charcoal and photoluminiscent acrylic on raw linen 
       
     

Strategy for spontaneity, 2012

Charcoal and photoluminiscent acrylic on raw linen 

   
  
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     Static beauty ,  2012    Charcoal and photoluminiscent acrylic on raw linen 
       
     

Static beauty, 2012

Charcoal and photoluminiscent acrylic on raw linen 

IMG_0514.JPG
       
     
post box facade.jpg