July 21   7pm

The images in my work spring from my subconscious impulses, from whatever it is in my inner or outer environment that rattles me and puts me in a spiritual and dreamy state. It’s only after I finish that I analyze and fully understand it. This exhibition is called Windy: in acknowledgement to the city where these works were created. Chicago has given me the freedom and confidence to accept who I am and what I do. It is called Windy because nobody knows what can happen when the wind is strong. And when we let ourselves go with the wind, we open ourselves to the unknown and to new states of consciousness.

Alba Soto holds a Ph.D in Fine Arts and she is an actively working artist. She studied Visual and Scenic Arts, and she is a specialist in interdisciplinary and performing tools for creation and teaching practice. From 2009, she served as the chairperson and as a professor of Fine Arts at Universidad Nebrija. Dr. Soto has conducted workshops and seminars at a number of universities around the world, including the Kymenlaakson University of Applied Sciences in Finland; the UCA University for the Creative Art in the UK; Hochschule fur Kunste Bremen in Germany; Universidad de los Andes in Colombia and Chicago State University. USA. Her performances, video art and drawings have been showcased at a number of national and international festivals and exhibitions in Spain, China, Italy, EEUU, Germany, Poland, among others.


“The bright colors and fantastic elements in Alba’s paintings are a sort of ecosystem, a wilderness of living things. Each work features one cohesive figure, but that figure is comprised of a hodgepodge of incomplete people, animals, and objects that are conflicting with and emerging from one another. For example, the face of a bird becomes the disguise of a woman, while the face of another becomes the breast of the woman that face is sucking. The reaching, diagonal angles are softened by the natural curves of a body. Each figure is impure and incomplete, but the sum of the figures makes a whole body. It’s as if the figures are groping their way into being. It makes me wonder what exactly a person is.

Her paintings are about movement, but that movement doesn’t concern itself with a future completion. The movement itself is primary, and incompletion is just part of motion. As one looks at a painting, the figures seem to transform while eschewing any kind of narrative. Each relationship of the parts contains a changing relationship. In one part, it’s a fight, in the next it’s sex, and in the next it’s repose. However, it could be seen in any order. The viewer is left to make sense of the figures, but their mercurial quality and ambiguous relationships continuously undoes whatever conclusion is made.

One painting portrays the destruction of completion. In this painting, there is one solitary and complete figure surrounded by black space–one of the few instances where solid black shows up in her work. A solitary and complete figure resides in this negative space and reaches for the messy, inchoate couple running away. This figure is a full figure, but it is the only thing to exist within its space, and for that reason it is lacking.”