The imaginary in the work of Alexandre Coxo wanders somewhere between the exercise of contemplation and meditation, guided by the perseverance in the work of Alexander the Great. Art in the art. It will not be improper to place it somewhere between the presuppositions of the myths of Prometheus...
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The imaginary in the work of Alexandre Coxo wanders somewhere between the exercise of contemplation and meditation, guided by the perseverance in the work of Alexander the Great. Art in the art. It will not be improper to place it somewhere between the presuppositions of the myths of Prometheus and Orpheus, in the duality between the fire stolen from the gods and their enchantment by the lyre. The exercises proposed by Alexandre in this exhibition are, although personal, common to all of us. They are exercises in which liberation takes place both by the theft of fire, as regards technique, and by the enchantment provided by meditation, which serves to induce cogitative phenomena in the spectator. Jacob Bronowski tells us that "(...) rock painting is, like the instrument of the chipped stone, an attempt to control the absent environment, and both are created in the same spirit; Are exercises by which Man is liberated from the mechanical impulses of nature. "(2) The nature of Contemporary Man is a nature of emulations, based on more or less rigid social assumptions, and of very primitive significance. It is in the attempt to respond to a greater goal that Alexander throws us into his imagery of contradictions in a purified exercise that frees us and invites us to seek balance in the contradiction between the authorial process and the reflective essay.
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