Alejandro Plaza (Caracas, Venezuela, 1989) submerges the viewer within the vibration and the speed of a hybrid art in which the categories that established demarcations between different cultural references in the 20th century have exploded. In his Post Neo-Pop work, these categories configure themselves into a narrative that shifts with impunity from the graphic signs of advertising posters to the genre of portraits in painting, and inserts echoes of geometric abstraction amid vertiginous fragments of multiple iconographies. Plaza appropriates the visual echoes of the Japanese television series; the perceptive effects of Venezuelan kinetic art among a myriad of allusions that he explores with the freedom of a generation formed within the highest paroxysm of the cultural industry.
At the age of 16, during a student exchange to Denmark, he took his first drawing lessons and came into contact at the ARoS Aarhus Art Museum in Aarhus, Denmark. After experimenting with pictorial techniques on canvas and board in Denmark -he developed a series on the archaic lifestyle in Greenland- on his return to Caracas he began to study illustration at the Institute of Design. One of the obsessions that have accompanied him since that time are the shadows that he does not relinquish even today when he does geometric interventions in objects such as a piano or a car. On these surfaces he designs planes with dynamic fragments and color degradations, and shadows that lend a new life to the geometric figures: "As if they were not ideal bodies but real bodies," he states. At the same time, the geometries - juxtaposed as transparencies or glazes in acrylic- started to combine with the portraits of female faces that exalt beauty stereotypes, without ceasing to have an air of their own.
In the midst of media saturation, Alejandro Plaza, a member of a generation born after the end of the social Utopias, creates works posterior to surrealism, pop art, neo-Pop and kinetic art; as a way of escaping the darkness of the world, and convey his vision of a ticket to a certain imaginary world of happiness.
Plaza celebrates the Pop art that elevated advertising to the status of a cult iconography, and insert the semiotics of narrative strips in contemporary art, expanding it in his own way.