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Santurtzi, Spain  b.1966 

Born in Santurtzi, Spain 1966, Alberto Peral’s work is distinguished by the use of pure forms and brilliant volumes made of ceramics or materials that can dialogue with the story of each piece. This unclassifiable Spanish artist builds his work from simple figures as triangles, oval forms or circles, as the basic principles of the way he understands the space. He uses the subtlety of the primordial as one of the essential elements of his work, going always back to the pure and simple beauty of the pieces to express his conceptual approaches. His works are located between multiple disciplines, and this implies a necessary effort from the viewer to adapt himself to the language chosen by the artist for each works.


Peral uses sharp, precise marks to lyrical effect in his subtly manipulated images of rooms and buildings. White triangles resembling rays of light or paper darts appear in his images before, on closer inspection, they resolve into X-Acto knife cutouts. Peral is careful to leave the cut away paper dangling from the image, curls of three dimensionality that, in works such as Ayasofya give the feeling that it’s not just the paint on dilapidated buildings that is peeling, but some more fundamental part of the social fabric that is coming undone. In other works, Peral’s cuttings add to rather than undermine the substance of their scenes. The white underside of the paper takes on its own reality in, for instance, Topkapi and San Salvador en Chora, where they seem like they could be sculptures positioned in the scenes they’re cut from, waiting for viewers to circle and admire from all sides. The versatility of this simple technique is further evidenced in Eminonu and Pension Ideal, where the paper is made to ‘pile up’ on a chair and a dining room table, as if it is burst cushion stuffing or a discarded tea towel.


A sense of circularity impregnates the work of Alberto Peral - an idea that, although concentrating the viewer around a single point from which everything emerges, also offers the viewer the possibility of embracing, surrounding or narrowing the sense of reality. From the beginning of his career, Peral has been involved in the production of work that has extended the suggested simplicity of its volumes, instead of concentrating on a single point in his sculptures, there are elements that grant to their production a mystery through which the spectator has the possibility of connecting with his proposals; they imply a suggestive symbolic potential and are no longer mere sculptures, manufactured for the delight of the senses. From a sensual point of view, Peral’s drawings can be interpreted like notes of a diary born to freeze the sensations of the artist in front of an object and of which the artist shows his soul to us and his photographs are a protection and preservation of the fleeting moments impossible to capture with the outline of a drawing. Peral’s works relate to the creation of the universe and, by extension, humanity, nature, life and death.