Alfonso Michel

The issues in Michel's painting are not so much limited as recurring topics, and their reiteration works as a memory game, where the artist can refer to the past as a permanent source for his creative activity. This is why there are always tables full of various disagreeable objects, in front of windows that open onto an eternal sea. In <i>As de trébol</i> appears one more time the half-full emerald goblet of <i>La carta</i> of 1936, likewise broken in one of its edges, surrounded of a conch, a pear and an isolated as of cloves. Like in Rufino Tamayo's work - artist that Michel admired and met in Paris toward 1950-  the theme can be a mere pretext for the exercise of the painting.  In Alfonso Michel the artistic conception seems the priority of the creative invention, one can see in his work two periods clearly defined: in the forties his subjects are at first nature, children and adolescents, fairs and scenes of gambling; in the fifties they were based on introspection, pain and nostalgia.