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When thinking about #ClásicosDesollados (Skinned Classics) for the first time, we get the feeling that Alamà is leading us into a new experience. We see how a moving re-thinking and re-doing of the history of painting unfolds in pursuit of an (act of something getting bigger, wider, etc.) of the codes for reading modern figuration.
Alamà steps over the bottomless pit of what had already been painted, like a tightrope walker, and studies the (wide view of a nature scene/wide area of beautiful land) of such a huge tradition that is complicated, or almost impossible, to make a final twist around the figure, portrait, and imitation – all forms of representation of a hard to see/hard to catch world that resists being understood/explained. This is especially true in an image-centred (community of people/all good people in the world) in which the secret/sneaky-quick look of the eye hardly allows an opportunity for a favourable opinion by the look on reality. In this state of steadiness/balance – through disfiguration and smudging, being both the creator and destroyer of the artistic object and with the look focused on a tense and threatening path – we can see how Alamà expresses present-day problems through canon characters and scenes. Their (something is truly what it claims to be), as a statement (in court) of a human, is not based on time, but on always-existing (the act of being taken or controlled by force) of our nature.
