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Alexander Wesch, artist andd author of poetic texts was born in 1973 in Domodossola.
The artist boasts a training professionally in the artistic field, having graduated with honors from the Academy of Fine Arts in Brera (MI) andd having completed graphic design studies in Iceland, Milan and other parts of the world.
His works have been shown in numerous exhibitions in Italy and abroad, among the which include, but are not limited to, the solo exhibition at the Engraving and Printing Workshop “The Burnisher “a Ghiffa (VB) in 2005 and at the Pinacoteca Nazionale in Bologna in 2006; abroad has exhibited at the spaces of the “The Art Grotto Gallery“ at Eugene (United States) in 2002, participated al 20 International woodcarving symposium “Traesculpture Symposium” at Emmer-Lev Hojer (Denmark) in 2002 and at “The World Art Delft International Symposium dedicated to the “Recycling Art” in Delft (Countries Netherlands), in 2008.
His work si can be found in private and public collections.
In 2018 he received the Artistic Lifetime Achievement Award at the Chamber of Deputies in Rome.
A tireless experimenter, Alexander initially tried his hand at drawing, clay‘clay and, during his academic years, with intaglio and monotype.
In his more mature years he approached digital art, and his output in this field is extensive.
From its initial natural subjects, it lands later ad an increasingly incisive abstractionism.
Note in this regard the works that investigate the potential of the technological medium, with which the artist interacts in a symbiotic manner.
Also worth mentioning is the production, again in digital art, of waves and clusters of various shapes that echo Optical Art.
In this sense, abstraction, in the poetics of Wesch, becomes a continuous and changing flow, where the artist’s feelings merge and blend with the form itself, transforming each work into a unique and enigmatic experience.
The coldness of the colors that the digital medium infuses is contrasted with the warmth of the pigmentations of the paintings executed manually.
Unlike geometric rigorism, however, the figures dance, move, project on each other, rrecalling the works ofi Joan Miro, albeit with the choice of a different palette.
With Alessandro Wesch the human gesture regains its vigor; the pictorial varnish escapes from two-dimensionality to greater material layering.
And sometimes he even abandons the vivid chromaticisms that connote some of his paintings to converge on the primal whites, blacks, and grays and their inherent possibilities, demonstrating great mastery even in this kind of experimentation.
