Alejandro Rosembery was born in Córdoba, Argentina in 1981. He attended The National University of Cordoba, where he obtained a degree in Fine Arts, at the same time forming himself with master Claudio Bogino in the classical method of painting based on the tradition of the great Italian masters. He furthered his education on color under Graydon Parrish, at the Grand Central Academy of New York.
His works are being exhibited in the United States and Canada, respectively represented by Principle Gallery, in Virginia and White Rock Gallery, in Vancouver.
Passionate about teaching the techniques he uses, that are based on an academic focus, he invests much time and dedication to his drawing and painting classes and workshops, held in Brasilia and Buenos Aires.
He considers himself a realist painter.
Many think that his works look like photographs and categorize them as being Hyperrealism, but Hyperrealism is not a technique but an artistic movement which tries to reproduce reality with photographic objectivity and quality.
On the contrary, his intention when he paints is not photographic but pictorial, using technique as an instrument to express a particular vision of the world. In that sense, he chooses realism because of its accessible language which, like a bridge, facilitates the connection between the painting and its spectators: it allows them an approach to art without requiring any previous knowledge.
Alejandro feels that painting is a way thinking, and that the images are texts. Through his works he reflects upon the world in which he lives and on the space that art occupies in it, working particularly on two concepts: beauty in an ample sense and craft as its support; values that have been devalued throughout the last century and yet so necessary to the development of human beings and art.
Art reflects the context in which it is produced. Carton, plastic and disposable objects are representative of urban and contemporary life and that’s why they are the protagonists of this series of paintings. Painting these objects the way he does implies rethinking still life, one of the greatest genders of classical painting, from a contemporary point of view. It also challenges the viewer to find beauty in everyday life, something that the artist finds interesting, because it implies seeing the objects that surround us from a new point of view, aestheticizing our daily life.