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Exploring diverse genres, I paint portraits, flowers, and still lifes or resort to the abstract outlook and the reinterpretation posed by workshops in order to carry out, from my standpoint, an incisive critique of conventional imperatives, including family structure, senseless traditions, corruption and the way they permeate our culture. I would say that through my practice—closer to the expressionist approach—and taking advantage of a diversity of supports, my intention is to do away with appearances, mandates, and shallowness, and explore the visceral, the convulsed and the harrowing in a dialogue occurring in the limits of excess and beauty.
Alicia Amador studied communication sciences and visual arts for over twenty years in the studios of the masters: Gilberto Aceves Navarro, Germán Venegas, Oscar Ojeda, Oscar Bachtold, Maribel Avilés, Rae Miller, Lorena Mata, Jacobo Ángeles, Marco Arce and Tomás Gómez Robledo. She has participated in theory clinics given by Raimundas Malašauskas, Ingrid Fugellie Gezan, Luis Rius, Blanca González and Jorge Juanes. Her individual exhibitions include “My Family’s Critters,” Metropolitan Autonomous University-Iztapalapa, Mexico City (2016); “Feathered Tales” (2014) and “Flowers” (2018), Oscar Román Gallery, Mexico City; and “Pastoral,” Xalapa Anthropology Museum, Veracruz (2019) and Oscar Román Gallery, Mexico City (2020). She has participated in over 50 collective exhibitions, both domestic (Monterrey, Puebla, Guadalajara, Oaxaca, Cancún) and international (New York, San Salvador, Paris). Some of her pieces are held by collections in San Diego, New York, London, San Salvador, Bilbao and Paris. She was selected by the National Water Commission (CONAGUA) for the 2011 “Water in Art” campaign and participated in Grupo Reforma’s fifth art showcase in 2012. Together with Tomás Gómez Robledo and Sergio Aguilar Álvarez, she founded the TSArte collective, dedicated to developing visual art projects on different supports. Her work references genre painting, approaching portraits, flowers and still lifes through abstraction and the reinterpretive condition of the workshops of the trade. In an exercise that resembles the expressionist line and makes use of a variety of supports, Alicia incisively critiques the conventional structures of the family order, senseless traditions, a society corrupted like a rotting fruit—and their percolation throughout the culture. This exploration of her reality reveals the visceral, the convulsive and the harrowing, discarding appearances, mandates and the superficial in a dialogue on the border between beauty and the extreme.