“The dialectic of pain and beauty”


My intention is to make works that act as talismans that materialize the idea enunciated by the Greek mystic Dionysus of Aeropagos where “The Divine Darkness” is formulated as a way of knowledge: “The divine darkness where God dwells”.

By abandoning color, Isabel Alonso Vega meets the technique of smoke as painting. By combining the liquid necessary to dry quickly on paper and the heat of the fire, the result remained there, exposed, as a mark related more to an absence than to a presence, with something that is not there and will not be there again. , with chance. Alonso Vega’s work has a mystical and existential component.




An intermediate between aesthetic experience and knowledge, but also between seeing and not doing so, forms the core of the artist’s smoke sculptures whose intention is to paint or retain the unstable and variable forms of smoke. The traps that the artist deploys are harnesses, torches, ropes, and acrylics capable of retaining smoke, but also generating it. Letting the fire intervene on them, controlling the density of the shadows depending on the exposure time, and wrapping these boards in some kind of transparent methacrylate urns. Isabel Alonso Vega’s smoke can be perceived as a set of sudden appearances or direct strokes, which, like a sumi-e painting, seem to have been executed at full speed.