Carlos Albert, (Madrid 1978), began his studies at the Faculty of Fine Arts of the Complutense University of Madrid in 1996. He also carried out his doctoral studies there, while complementing his training with the support of various scholarships such as the Camberwell College of Art of the London Institute (2000) and the Luxembourg Center for the Propagation of the Arts (2001).
The year 2006 marks the beginning of his individual exhibition activity, showing in various galleries and public spaces in different parts of the world, such as the Val Dieu Abbey in Belgium in 2017, the Infanta Elena Museum of Contemporary Art in 2016 and in Segovia within the “Hay Festival” program the same year.
In addition, projects such as his participation in the XIII Havana Biennial endorse his artistic career. In 2017 he was awarded by the Group «World Heritage Cities» in Spain, in 2016 the Gold Medal of the Autumn Exhibition of the Royal Academy of Fine Arts Santa Isabel de Hungría and the Sevillana Endesa Foundation Award in 2012, among others. His work is represented in prestigious collections such as the Jorge M. Pérez Collection (Miami), the National Heritage of Spain, the Kells Collection or the Museum of Contemporary Art «Art In the Forest» of Vinh Phuc, (Vietnam). Many of this monumental works can also be found in various cities such as Miami, Havana or Madrid.
«Carlos Albert’s collages come from a robust and elegant imaginary: they are elegies for his powerful sculptural volumes. Indeed, we can find in them traces of the complex work process implicit in his sculptures on a monumental scale. But, what began as a tool to preview the infinite complexities of three-dimensionality, has turned into a mysterious universe within his work.
It was customary for Albert to sketch the shapes of his sculptures using two-dimensional cutouts of various materials. In the workshop, these pieces have been fundamental for the work process related to his monumental sculptures.
That is why signs of strength can be seen in them, a certain kind of micro story of human creation concealed in spontaneous stains and burns. Little by little, as they accumulated, an interesting collection of what seemed to be templates, notes, models, drawings, multiple episodes of formal mystique and experimentation, was formed.
One fine day, Albert decided to assemble these capricious pieces on paper, an endeavor in which he has gone through different phases. Before incorporating the color, he used Chinese ink and recently he has used materials such as tarlatan or matte tree bark paper.
The resulting collages have acquired such a level of relevance, that they are no longer the previous point of his sculptures, although they maintain a close relationship with them. They are, more accurately, a collection of calligraphies. Two style features stand out in the ensemble: the fascination for contrast and the pleasure for simple, automatic, spontaneous variations.»
Juan Delgado Calzadilla.
Curator & Director of “Detrás del Muro” (Behind the Wall).
Luis Enrique Padrón Pérez.