Alex Goldschwartz has the characteristic of Apophenia, which is the ability to make associations of distant concepts. 

In other words, look for relationships between conceptual themes that apparently do not have it. By doing this, he is able to link different aesthetics and different moments in the history of painting, not only with a desire or with an aesthetic intention, but also with the fact that the choice of certain artists and certain works are made based on a kind of conceptual association one can make with those terms. For example, when he repeatedly talks about the birth of Venus, these paintings have to do with the function of the feminine, with the return to the myth of the birth of Venus and the castration of Uranus by Saturn, and it is a quite original form of interpretation that makes A>G> of the myth of the birth of Venus interpretation in What is love, that which is capable of overcoming finitude and the death that entry into the temporal level brings with it.

 The choice to quote works of art from other times is never fortuitous and is always linked to a conceptual charge and the desire that this conceptual charge generate certain associations in the observer's unconscious. The tables always have a paradoxical organization and coherence, with which they never admit being read in a linear and sequential manner.

The meaning of this type of art has to do with the fact that the viewer always has the feeling that there is an intention to communicate something but can never put it together in linear, sequential and verbal terms, with which the fluid and the flow of the symbolic chain and the explanatory chain is interrupted and there is a collapse in the search for meaning. This must be read in strictly Lacanian terms, that is, the symbolic chain is interrupted in the search for meaning and reaches a kind of dead end. This leads the viewer to give up looking for the explanation of the painting in the symbolic chain and in rational explanations and not that it comes close to what is called THE REAL in Lacanian thought.

 In other words, that which cannot be symbolized, that which generates ecstasy or anguish but which always comes out of the order of everyday life, this is the underlying underlying idea in the art of AG's paintings.

The oldest work from 1992 to 2000, before digital technology, had a very similar aesthetic but at the time the construction appears the possibility of producing is much greater. So the drafts, sketches, the equivalent of drawing in painting, are made digitally and are basically used to improve the works. The idea of ​​breaking the sequential order and making the viewer consciously or unconsciously renounce a rational explanation has to do with the will of this art to take the viewer to a different and more synthetic level of consciousness than what the spoken language allows. Alejandro's idea is that the origin of his paintings comes from and goes towards the sense of the Oneiric as a form of construction, and towards the sense of how the unconscious perceives more spatially than sequentially, that is, in spatial terms the question tends to a synthesis conceptual What is impossible to cover in linear and verbal terms.

The idea that the symbolic chain, that is, the linear conceptual level, suffers a crisis due to not being able to explain what it is seeing, puts the dilemma of jumping to a higher logical type or generating some kind of anguish of not understanding.

 Alejandro's paintings are inspired by the functioning of the unconscious with two important Freudian concepts: condensation and displacement.

The condensation is the way in which the painting is constructed, condensing different aesthetic times and different influences of different painters throughout history and that form the aesthetic preferences of the author and to which he pays homage by citing them.

The elements taken from different paintings work in a way analogous to the way the unconscious uses symbolic images linked to certain emotional contents, in the same way it tries to combine these images, which tries to generate a kind of understanding insight that is not entirely explained, but it does intend to generate a feeling of Aesthetic appreciation but that is not a strictly decorative matter, but rather that the person who contemplates the painting feels that he can enjoy the beauty of the painting and that it be an aesthetic experience and what is in that interest of treating to explain the meaning of the painting, but not being able to finish deciphering it, take it to a higher level of effort and higher aesthetic gratification.

We saw the use and communicational attempt to use Botticelli's The Birth of Venus.

On the other hand, there are other elements that are repeated, such as the appearance of a quote from Innocent X by Velázquez that has to do with open criticism of corruption in the church and in religious institutions. Then there is the use of Shiva and the figure of the anthropomorphic God. After that, for example, he uses the image of Jessica Rabbit in several paintings, which is an implicit criticism of the infantilization of the male gaze on women, that is, there is no longer only an idealization and a loss of reality of the image of women, rather, the ideal of the desired woman is the kind of caricature or open fantasy. Jessica Rabbit is a caricature of Rita Hayworth's Gilda.

In the same way, the paintings you have on display clearly show an ironic look at the traditional family and the relationships between people and how they always hide something.

The use of open or cut or made-up faces has to do with the image that within what is seen Apparently as bourgeois and orderly people, and orderly families shows that behind that order there is always, As the Title of one says of the pictures there is a secret. the citation, for example, in the weight of history, the citation of the Bourbon kings painted by Goya implies an old and backward cultural stage, the image of women with open faces implies that there is something inside that cannot be seen when we show ourselves socially, the background image of a woman having a dubious erotic situation with a girl has to do with prevention in families, well, all this is an ironic look that does not need to be mentioned so verbally because the idea is that the transmission of the sense of painting arises through sensation.

The idea behind Venus in the neighborhood is to show the reciprocal influence of different times and the paradox that in a painting by Titian appears a painting that will be painted 2 centuries later.

The idea of ​​as time goe by talks about the difference in languages ​​between men and women that are maintained throughout history, which is why it combines the classic scene of Casablanca with a Blade Runner background, which is a science fiction classic. and shows us the way Alejandro has of appropriating cultural elements as much as cults such as Pop or the history of cinema.

The elements cited in the paintings are at the service of achieving new unconscious associations, since each image cited has been seen by the viewer in another context. In this way, the quotes, not being isolated but forming part of a set of quotes, mentioning other paintings or films, lead the viewer to reinterpret these images in a new context, giving them different meanings even if they are not aware of it.