Alejandro (Madrid, 1957) often says he came into this world with a pencil in his hand and now lives with a paintbrush between his fingers.

Indeed, his passion for drawing awakened at a very young age. By the time he reached adolescence, despite having received no formal artistic training, he would use his free time after work to attend life drawing sessions at the Círculo de Bellas Artes in his hometown.

In 1980, at the age of 22, he moved to Menorca with the intention of spending some time in a quiet environment, closer to nature and the sea. However, like many others, he found himself captivated by the charm of the island and settled there permanently.

It was also in Menorca where he held his first two solo exhibitions in 1983. The first took place at the Exhibition Hall of the Sa Nostra savings bank in Es Castell, and the second at the Sa Nostra Hall in Ciutadella. These exhibitions featured local landscapes drawn in ink, which achieved great commercial success.

Later on, while working in various jobs to help raise his two daughters—never forgetting his devotion to art—he earned a degree in philosophy and a PhD in a department combining social anthropology, history of science, and philosophy of science. His doctoral thesis received the Extraordinary Award. He also became an expert in interpersonal communication, a field in which he has worked as a teacher and lecturer. In addition, he has published essays and fiction. But above all, and always, he has seen himself as an artist by vocation.

Currently, he leads a simple, reclusive life devoted primarily to his passion—painting—although those who know him are aware that he does not shy away from social interaction or a good conversation when the occasion calls for it.

As for his painting style, the Gallery on this website reveals a wide range of techniques and approaches in the way he handles subjects and themes.

On the gallery’s first page, he presents an extensive collection of portraits of well-known faces. He is less concerned with physical likeness (although he achieves a high level of accuracy) than with interpreting the personality and character of the subjects.

All of the portraits are painted in acrylic on canvas, yet it is impossible to categorize them under a single, repetitive style. “Any material, technique, or color can be useful if it helps capture a gaze, express a gesture, or reveal the spirit of the person or character portrayed. There’s no need to stick to a standard model,” he explains.

The same principle applies to the second page, titled Music and Dance, where we find splendid images of ballerinas in motion, street musicians, and musical instruments—each treated differently to best express its emotional essence.

A third page is dedicated to urban landscapes, where views of major cities are combined with images of small towns and scenes one might come across while strolling through their streets. This blend offers a useful way to reflect on how diverse and multifaceted life can be today, depending on the environment in which it unfolds.

On the fourth page, we find some of his remarkable drawings. This section is important because it reveals the solid foundation upon which his paintings are built, even though many details may be omitted for clarity or transformed by color to enhance visual impact.

Finally, the page titled Miscellany includes works that do not fit into any of the previous categories—such as a lemon tree branch, a bunch of mandarins, or a pair of satirical pieces reflecting his thoughts on what is and isn’t art in these confusing times we live in.

“I don’t care about styles or trends when evaluating a work of art,” he says. “I only believe in work done with honesty.” He adds, “To me, there are three types of artists: the good, the bad, and the average. This depends on one’s natural talent, study, practice, and the effort invested in daily improvement. But all three can be equally honest, regardless of how they paint, sculpt, act, dance, write, compose, or sing. What I despise are charlatans, speculators, impostors—those who hide behind pretentious, hollow rhetoric, often full of clichés and generally incomprehensible speeches, trying to deceive us in order to gain fame or make a quick profit. These are not good, bad, or average. They are not artists. They are simply speculators.”

When asked what he seeks through his work, he replies: “Art, in the end, is nothing more than a means of communication, and communication only truly works when the author connects—not literally, but intimately and emotionally—with the viewer. That is what I seek: connection, complicity with the observer. To what extent I succeed with each painting or drawing is something I cannot know”.

Under such premises, it is best to remain silent and let his artworks speak for itself.