Barcelona, 1963.
Alcaraz's discourse departs from the classical tradition of painting and sculpture in order to arrive at a constructed discourse of art itself through the physical and ephemeral nature of objects and the transparency of space. Intermixed materials to which are added certain contemporary technical possibilities for the composition of drawings, sculptures and scenographies, make up an extraordinary metaphor of the practice of art, as well as the articulation of a visual writing system developed by the artist.
The most insistent proposal of the artist is the question about the specific nature of the painting in confrontation or, in other cases, symbiosis with the own identity of the sculpture. Questioning the actual fact of painting, Alcaraz reflects and makes us more aware of what meaning the painting acquires in its situation on the wall, through numerous conceptual winks that carry the notion of painting the game of paradoxes, the duplicity of space and the assumption of the virtual.
