Jordi Alós’ work acts as a type of narrative, which begins from the underground and street life in which he seeks to explore alternative ways of living, passing through a liberation of expression and being until concluding in a world where We are all the result of a set of experiences, both individual and collective.

His paintings, whether abstract representations, his Machangos or everyday scenes, are reflections of the artist’s personal experiences. Aware of his origins, but enjoying a new existence surrounded by abundance, he seeks through his work to merge both realities.

During his stay in the Canary Islands, Jordi Alós was inspired by the local culture, adopting unique expressions and concepts, such as the concept of Machango, a figure that has become the protagonist of his work. Machango is used to describe a person as a clown, doll, character, and even to call someone stupid on some occasions.

Being an expression, graphic representations of the machangos will hardly be found, which is why Alós was motivated to personify this concept from his own interpretation of the term. The figure of the machango in the works of Jordi Alós derives from an intersemiotic intervention: from the linguistic to the plastic.

The Machangos are figures that can exist in several areas, even simultaneously: in the ritual, in the fictitious, in the real and in the artistic.

The work of Jordi Alós comes from a process of conceptualizing the human face, which emerged from rough and rough strokes, as if it were the scratches of a child. The artist classifies his Machangos within art brut, or outsider art, a movement that gave way to the development of an identity with a rebellious force, which in the artist’s work is consistent with the identity that derives from the underground, since Both concepts promote freedom away from institutions and authorities, both in social life and artistic life. The artist’s work is congenial to art brut in that both exist only when the body is placed over reason, that is where freedom prevails.

Jordi Alós’ paintings can be interpreted as captures of a comedy, in which it is difficult to limit the image to a specific stage space: we do not know if we are in a neighborhood or inside a sports club. It becomes an urban spectacle in which each piece is a frame.

The artist’s work is a story in which different characters, machangos, which derive from sarcasm, irony and irreverence, give life to a social, cultural and artistic mix in which music also plays an important role: rock , rap, electronic music and funk coexist within his paintings. In his works, Mexican culture is mixed with others to give us a new version of what is popular.

Through the juxtaposition of symbolic elements and the amalgamation of styles, the artist leads us to analyze these scenes from our personal experiences. His works not only capture our visual attention, but invite us to find a parallel with our
own experiences and experiences. The artist argues through his paintings that we are a product of a series of circumstances. It invites us to reflect on how our relationships and our environment shape our identity and perception of the world.

The freedom that Alós presents to us also invites us to return to our natural state.

Just as Rousseau first mentioned, we have two states in which we exist as humans, the état de nature and the état de culture. In the first of these we find ourselves in a state in which we relate in a sensitive-affective way with the world, it is where we are governed by our body above reason. However, as it is a way of relating to the world, we can only exist in this state within a community.2