Andamio (Temporary Framewories) is to date Alejandro's most openly referential work. Its title is partly written in Spanish and partly in English. "Andamio" is the Spanish word for "scaffolding," and while its adjoining, parenthetical note might at first suggest its translation, it is an attempt to explain the condition of the sculpture's relation to its mode of production and display. The title references temporariness and frameworks, shared characteristics between scaffolding and this very work. The sculpture's ephemeral nature-suggested by the assemblage as a formal strategy and its conditional materials-lessens the theatricality implicit in the luminosity and scale of the work.
Experiencing Alejandro's work is like confronting a precarious situation. The seeming instability formed by the combination and placement rather than the materials alone is so evident, so explicitly bare, performative and joyful at once, that it is at once pornographic and nonhuman. He unashamedly plays with the familiar that is, in this sculpted way, publicly rare.
"Let's test the sculpture," I suggested some months ago, "to see if it will work, if it can stand and maintain stability, to be sure it doesn't collapse." At that time, Alejandro had lost his studio lease and Art in General's gallery, which was undergoing renovation, could and would be used by him mostly as a site of inspiration rather than experimentation. Short of appropriate space to assemble and disassemble the proposed sculpture, visuality and trust and some mathematics and consultants here and there, replaced the empiricism that his work might have undergone or seem to display. Now the gallery is ready and Alejandro's Andomio (Temporary Framworks) installed. The exhibition is up and, like in every situation that requires you to risk it, chances are....
-Sofia Hernández Chong Cuy