Details
Artist
Styles
Sin Título 1 by Jordi Alcaraz, created in 2025, exemplifies the artist’s distinctive approach to the materiality of language and image. This mixed media work, housed in a wooden frame, layers transparent acrylic sheets and gestural black lines over a subtly marked background. The composition creates the illusion of floating forms, casting shadows that change with the viewer’s position. Alcaraz’s manipulation of depth and texture invites a tactile reading of space, where drawing becomes both object and trace. The absence of a defined subject or title reinforces the idea of perpetual transformation, a theme central to Alcaraz’s poetic visual language.
Sin Título 1, 2025
form
Medium
Size
76 x 61 cm
- Inches
- Centimeters
Edition
Price
Details
Artist
Styles
Sin Título 1 by Jordi Alcaraz, created in 2025, exemplifies the artist’s distinctive approach to the materiality of language and image. This mixed media work, housed in a wooden frame, layers transparent acrylic sheets and gestural black lines over a subtly marked background. The composition creates the illusion of floating forms, casting shadows that change with the viewer’s position. Alcaraz’s manipulation of depth and texture invites a tactile reading of space, where drawing becomes both object and trace. The absence of a defined subject or title reinforces the idea of perpetual transformation, a theme central to Alcaraz’s poetic visual language.
- Recently Added
- Price (low-high )
- Price (high-low )
- Year (low-high )
- Year (high-low )
What is Surrealism?
Surrealism began in the 1920s as an art and literary movement with the goal of revealing the unconscious mind and unleashing the imagination by exploring unusual and dream-like imagery. Influenced by Sigmund Freud’s theories of psychoanalysis, Surrealist artists and writers sought to bring the unconscious into rational life, blurring the lines between reality and dreams. The movement aimed to challenge conventional perceptions and express the irrational aspects of the human experience.
