His work, in which the cosmogony of pre-Columbian civilizations frequently comes up to the surface, should be compared to psychic art insofar as forces for which he is but an instrument, according to him, are at work there: “I am a channel that absorbs the messages of the cosmos […] my works are the pathways of a new era, spiritual psychographic messages for saving the energies from this era, from the old, and from the future.”
Alexandro Garcia, like Vassilij Romanenkov, does not take his “visions” from an intimate conversation with the dead then, as is typical in necromancy. With him, it is rather a matter of recapturing an ethereal golden age, an extraterrestrial knowledge floating somewhere in limbo and capable of saving us from our turpitudes.
His psychedelic, meticulous, extremely codified compositions, blend fantastical cities and Incan temples – as if weightless or about to embark into the infinite cosmos – with the ballet of constellations that have come to greet them.
Truly the heir to magical realism, Alexandro García goes beyond that scope however and speaks to us of an elsewhere offered up to our projections and to the colonization of a new humanity: “we are not alone.”