Alejandro Javaloyas

In Un cuchillo que no corta, Javaloyas records recurring nightmares in a bedside notebook, feeds the brief written notes into prompt-to-image AI models, and selects a handful of the resulting images to crop and rework into colored-pencil drawings on cotton paper mounted on wood. The finished works, populated by burning houses, moths, milk teeth and rosaries, draw on scripture, literature, film and art history.⁶ In 2026 Javaloyas presented the project in the solo show “Un cuchillo que no corta”, curated by Sofía Moisés at Galería Reus in Palma.⁴

In a parallel body of work, Javaloyas presses, cuts, drills and polishes veneered plywood into convex arch-shaped panels marked by recurring circular motifs of dots, spheres and holes.^2,7 Javaloyas presented this work in the 2023 solo show “Floating Matter”, curated by Fernando Gómez de la Cuesta at Can Gelabert in Mallorca, and completed a residency at LA BIBI Gallery in Palma de Mallorca in April 2024.² During that residency, Javaloyas arranged eleven bent plywood blocks into a floor sculpture, Panorama d'une Mythologie Post Post-Minimaliste, in a circle whose surface gradient runs from white through pale blush and yellow to blue.³ Javaloyas also works in a scanner-based practice known as “ultra photography”, a term coined by curator Fernando Gomez that emphasizes the inherent elements of the photographic medium.⁸ In 2025 Javaloyas presented this work in the group show “Ultrafotografía” at Casal Solleric in Palma.⁴