IN SPANISH

Javier Albar (1969) discovers the Woodcut in workshops Brita Prinz Gallery, a technique that allows you to make the transition from architecture to graphic design, engraving on freedom of expression is needed at the time, this transition makes woodworking differently than usual, designing and drawing images as if they were architectural drawings in roles which becomes transparent timber, which makes you experience the woodcut from another point of view different to get different results

Albar used as a basis for the woodcut printmaking using wood as main support okume, which cuts with blades clean and linear profiles, overlapping parts in his compositions and playing with the transparency of ink sets areas defined by creating puzzles compositional drawing in a constant search for lightness, spaciousness and a set of reading his work. Make a constant evolutionary experimentation of his works and begin to incorporate new techniques combined with the Woodcut, such as lithography and more recently the parent of a type of plastic, playing with new resources and the circular sanding, varnish and grated atmospheric funds.

The use of black ink and white paper, with the roundness of linear cutting wood, produces in his work a great firmness and strength. The author plays with overlapping and white ink on black slides to create different hues and shades of bluish gray sometimes combined with small touches of color who are lonely or are degraded, orange, red, green and are yellow embraced and embedded within the black ink without touching the white lines of the role play, connect, define and draw a magic and trap.

The poetry of Javier Albar refers to an organic abstraction, geometric and technological fuse together, through a synthetic version and formalistic. Detected in his work concerning a world of more or less discretion as deconstructive architecture, technology, structural engineering, film, futuristic, urban maps, aerial views of cities at night, natural elements such as: water, snow, rocks, plants. The bony structures of animal skeletons and fossils of dinosaurs, are mixed in destabilizing compositions, full of hidden tensions and linear connections. Use the circle as a transition between organic and geometric, geometry that do not conform to any mathematical calculation, but with an intuitive and emotional artist.

EN ESPAÑOL

Javier Albar (1969) Discovers the Xylography Brita Prinz Gallery in workshops, as Technique That Allows him to do the transition of the architectural design to the graphic art, in the xylography have to liberate him Finds That He Needed of expression in this moment, this Makes transition him work the wood of a Different Way from the usual one, Designing and drawing the images in transparent paper like They Were plans of architecture That Then He goes on to the wood, Which Makes him to experiment the xylography Different from Another point of Obtain differents to view results.

Albar use as the basis of historical xylography the graphical work, using wood as the main support okume Which sections with pure precision cuts and clean cleave linear profiles, superputting Compositions in historical pieces and playing with the transparencies of the inks, Established areas defined by the drawing compositive Creating puzzles in a constant search of lightness, and a game of espaciality reading of historical work. I have made a constant evolutionary experimentation of historical works and I begin to Incorporate New Techniques Combined with the Xylography, like the lithography and more Recent historical works in the matrix of a type of plastic named Arraglás, playing with new resources as the sanded circles, and grated the atmospheric background.

The utilization of black ink and the white of the paper, together with the rotundity of the linear cut of the wood, produce a great work in His rotundity and strength. The author plays with the superputting of the transparencies and Its white ink on the black to create Different tonalities and shades of bluish gray with cocktails That Sometimes with small touches of color or alone That Are That Are DEGRADED, orange, red, green and yellow or sorrounded Are Fitted inside the black ink Without Touching Itself, white lines of the paper play, connect, defines space and draw a magic and hypnotic.

Javier Albar's poetics Refer to an organic, geometric abstraction and Technological fuse Which Are Each Other, across a synthetic version and formalistic. In His work is detect a whole world of major or minor references discretion whit Such as: the deconstruction architecture, the technology, the structural engineering, the futurist cinema, the urban maps, the maps of the cities air lights at night, Such natural elements as: the water, the snow, the stones, the plants. The osseous Structures of animal and fossil skeletons of dinosaurs Are mixed in imbalance Compositions and full of secret Tensions and linear connections. I Used the transition entre circle as the organic shapes and the geometric shapes, geometry adjust to Not That Mathematical Calculation But not to an emotional and intuitive use of the artist.